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Spontaneity is the spice of life, we know. It is apparent in Tali paintings, in most of them; though a few seem to be quite planned. It adds to the life too; the life it engenders through the paintings. The spontaneity that makes us sometimes think it is too easy for her to paint; how nice it were if we could sit one day with brush in our hand and could draw that elegant and effective work, all with no efforts and planning. Just a few strokes and we were famous! The great number of paintings made by Tali anyways the product of her mastery over the art she has grown in her over years. But the apparent spontaneity is only apparent. It is the skill of an artist in fact that lets you feel it all has been done spontaneously. And with only such a work you can identify yourself from deep your subconscious; the work that everyone feels free with, no rules to bother about, no artificial parameters to care for. There are standards but they are measured only through the numbers of the people who could ‘spontaneously’ identify with a work. Has an artist to bother about the copyright? Has he/she the fear of evaluation on some stereotyped scales? Has he/she the fear of the work being stolen? Certainly not, the self-proclaimed Gods of Art may go on with their micro analysis, but an artist needs to be, and certainly is, a dictator at his/her works. The beauty lies in order but spontaneity is spice of life. How are both these simultaneously true? Because there lies an order in the very nature and human mind itself. Watch a child’s activities as he grows up. His acts are all dominated by spontaneity and no one has to glorify his acts for you to be able to appreciate the inherent beauty. You just are amused and relaxed with the child. Even an absolutely illiterate mother needs no art lessons to appreciate the beauty in her growing child’s acts. It is only the spontaneity with the child and the mother that is the source of the beauty and tool of its appreciation. All the education and the training in Arts and otherwise have originally been intended to explore and refine this spontaneity present in the nature; both within human nature and beyond it. But over the years, no! not years but centuries, the education and training systems have been made stereotyped, typical and been brought under the stranglehold of mechanical rules and laws that are more sort of a killer to nature and all what is termed natural. That is why development of stereotyped techniques was followed by breaking with all the techniques in the history of modern paintings. People when injured by these rules, laws and fashions, seek and find great respite in nature and arts. Arts and nature are both source of this respite because the artists are those who have a greater potential to retain their natural spontaneity despite all the attacks they face in our ‘civilized’ society. More often than always the artists are ones who have been victim of the chaos of this ‘orderly’ civilization as such, apart from being highly sensitive. There greatness or inherent strong simplicity lies in that they don’t surrender to the rules of the societies, that ironically have never been the same; rather they make their injuries a source of strength only to preserve their spontaneous love and concern for humanity and the nature. The author in no way intends to underestimate the role of learning arts through vigorous and long training. The only point here is that spontaneity is the underlying thing in every art. Only a trained artist who has refined his/her expressions through the training can express the ideas and feelings spontaneously and can extend a sense of beautiful spontaneity to our hearts. The mystery with abstract art paintings works as how it can seem that spontaneous lies in her perfect brush.
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