Reviews for Tashe

Andrew Wingham, United Kingdom

Review posted 20 Jan 2023

There is art and there is artistry If it were not for the war in Ukraine, the world would be focusing on the largest humanitarian battle of human history, that of femininity for femininity. Hitherto, almost all artistic imagery of the feminine has been via a patriarchal mindset, sometimes distorted by sexual desire of manhood. There is nothing wrong in men having sexual desire nor in its artistic representation. Men are entitled to masculinity and, indeed the gender variations towards femininity. But, history has systematically diverted women from their feminine desires and hasn't art shown so.  What is remarkable about Tashe's art is that outwardly her art appears to conform to the history standard. OK, here’s another boob and another! ‘Lovely!’ But in my judgement that first glance would be a significant error. In my view, Tashe has made another vital judgement. Most artists want their art to become expensive to conform to people hanging one picture on the wall in the centre of their wall in an important room, a sort of representative showing off to themselves which others will see. I have bought several ‘collections’ of Tashe’s art. Firstly, it is vital to know that Tashe’s skill and architecture is refined and educated. Though she will move her brush at speed, nothing is chance. She has an ability to tease and present inflection of mood, of muscle tension, or an eye’s communications. As human beings, we are so used to monitoring the inflections of human purpose through the minute alterations of countenance. Tashe achieves these fine human mood variations and importantly these are feminine moods, desires, determinations, failings, dreams and successes. I have found that, excellent though the social media and ‘Artfinder’s photos are, the real drawings achieve double the intensity one expected. By placing one image next to the other, as I am so privileged to do, one realises Tashe has bucked the trend of three thousand years but with modern means. She is intensely symbolic. She has appreciated all of the lessons which abstract and symbolic art provide but brought that messaging into what appears to be simple portraiture. But, it isn’t simple portraiture. This is a woman painting femininity from the view of femininity. The hair, the breast, the bottom, the vagina, the hands, the situation all arrive via an intensely empathetic, artistic female thinking through situations given the circumstances and mood of that portrayal’s moment. Because a female is a lover and a mother. She cooks and creates. She is loyal and disloyal. She is happy and depressed. She is determined yet anxious. And, at any one time, all or one of these emotions can surface as a height. Often they battle. In Tashe’s brush, these variations are human strengths, not weaknesses as art and literature so often portrays. And so to Iran and the remarkable struggle against three thousand years of masculine imperialism or to the US in its recent Supreme Court which removed the right of women in America to manage their own bodies and futures; and what for – for beliefs without co-ordinates yet contained in scriptural stories scribed by patriarchy. Thank you Tashe. Thank you Ukraine. Thank you democracy for standing against dictatorship. Thank you femininity. It is right that you are feminine.

Joseph bechara, United States

Review posted 7 Jan 2023

Amazing, couldn’t be more pleased.

John Delorimier, United States

Review posted 24 Nov 2022

Everything about the experience was great Tashe is great. Thanks so much.

Andrew Wingham, United Kingdom

Review posted 20 Oct 2022

So so pleased I made these choices, Tashe. Before sending them, I wonder how long since you looked at them. There’s such intensity. The concentration of the female making up. The internal reflection of the lady with the straw and iced drink. So grateful that you completed the pair of the moving on the bed. The lady on all fours is moving to us. There’s no adoration. By that I mean her tummy bulges since real stomachs are not flat. She’s looking at us because she knows we’re looking at her. So much motion but question too. There are no dreams here. And the lady with her legs folded. She’s holding her more than her bottom with one hand. Tension. Inner tensions. False dreams, perhaps! So her eyes are closed. Her head is stretched but her face opaque, unclear. So inside herself are those moments of transfer. At first glance, you think the picture incomplete. Yet, the opposite. Inner emotions are expressed externally. Perfectly.

Andrew Wingham, United Kingdom

Review posted 20 Oct 2022

So to the image which caught my attention when you posted it on Instagram. I think I added the comment about her eyes. We cannot see her eyes. Yet her eyes, I feel, are the focal point of the picture. A slim, pretty, perhaps beautiful female whose self-confidence is apparent. As always the structure of the picture is quietly profound. She’s edged at the paper. The curve of her forehead and hair mirrors the curve of her shoulder, of her under-pronounced breast inside a singlet, of the curve of the side of her buttock emphasised by her hand, its finger pointing. Four half circles in a row. Symmetry. But opposite, on the larger part of the picture, a lonely, angular elbow has almost no purpose except the left arm’s elbow is its mirror. Curves and angles. Counterpoint. She’s just held her breath. Both hands hold the sides of her knickers. Why? This is not a normal sexual undress. So we, the audience, are left with questions. Because, of course, she is beautiful, so composed, so in charge of herself. I am not sure why the oil of the lady looking to the sea had not sold. I feel privileged. Unlike the other oils, of yours which are so colourful, they are pastel colours. Soft, therefore. Yet such is the strength. Real power. We feel the wind catching her shawl and her blonde hair. We feel th e movement of the sea in front of her. And too, there’s the famous picture advertising the James Bond Movie,’ For Your Eyes Only’ and another much offered image of a female on a tennis court lifting the back of her short skirt. Like those famous pictures, the curves of this female become the picture. How, Tashe, you manage to create roundels on a flat canvas is remarkable. So woman or man will be drawn to this picture and so to the sea she is looking towards. The sea is quietly active. Alive. So a still female watches the movement of the sea whilst the wind rustles her hair and clothing. Always the question. And to my mind, the question creates the art. Thank you Tashe.

Adam Konemann, United States

Review posted 23 Sep 2022

Absolutely amazing! To see in person with the shading, contrast and overall details compared to what was already visually appealing online that prompted the purchased to begin with is unmatched! I'm already keeping an eye out for the next piece that will compliment it and expand the collection. Thank you for your creative works!

John Delorimier, United States

Review posted 17 Sep 2022

It’s perfect. Thanks

John Delorimier, United States

Review posted 12 Sep 2022

These pieces arrived today. Thanks they are great. Appreciate you

Andrew Wingham, United Kingdom

Review posted 31 Aug 2022

She is 16, perhaps 17? Old enough to know she does not yet know herself, if that makes sense? We live in changing times. While our hearts may want the comfort of religious ritual and its softer future, our heads know with certainty that no satellite or space telescope has found a god or a religious refuge beyond this planet. Why may that matter in this review? Because this artist is naked. She is external to those religious values which say, ‘Unto Adam also and to his wife did the Lord God make coats of skins, and clothed them.’ Though young, she is skilled because mixing paints on a pallet is tricky. There are two brushes. The picture must be tricky too. Our artist is not self-seeking. She is not stealing figurative fruit for her consumption. There is nothing gratuitous in this artistic image of Tashe’s. The eyes only consider her work. The young painter is naked before her art because her artistic soul is represented through her. The hair is long, loose, indeterminate and so private. What matters to her is the ideas she is painting. So profound. As art intends and can be. As this is. Tashe’s use of colour is considered. She surrounds the artist in yellow, the symbol of sun rising, of potential.

Andrew Wingham, United Kingdom

Review posted 15 Aug 2022

Glance. It can be the mood of the female? It can be the place in her day or her life? There’s a sense that tranquillity matters to all the ladies of Tashe’s pictures, even those who are thirsting to move forwards. Irony, therefore. How much of feminine life is ironic? Then, there’s Tashe’s skill. We see the faintest of nuance of a brush stroke. The female’s feelings become uppermost as we see her, judge her, think about her. In this picture, the cup is squeezed by tight fingers. The spoon remains. The subject is looking at us but not seeing us. Her view is inside her heart. There’s a pensive tightness of her cheeks. Her coat arm is wrinkled – imperfect – a reflection of her inner questions. We long for her to smile. When she does, her vision will be warm. And how does Tashe achieve all of this on a canvas where the face is mostly the white of the paper? All one can say is ‘thanks Tashe.’ And a shout out for Ukraine in its sacrifices and mighty struggle for independence.