About Me

I was fortunate enough to study art in Carnegie Mellon University, in Pittsburgh, U.S.A. At that time the teaching of arts was based on the Bauhaus system; Study of basics of form, color, design etc in painting, printmaking, sculpture, jewelry, weaving and ceramics.
I still use the classical, academic studies of nature and human figure to spring to imaginary fantasy worlds.
At the beginning (the 70's), my works were based partially on observing reality and  partially on fantasy, and had  a touch of dreamy surrealism. At that time I was influenced by the painter Henri Rousseau and the sculptor Graham.
Throughout my youth I was very interested in dance, and it is no wonder I later was  very interested in creating worlds of happenings and movements, mini stage scenes or in other words a small world within our world. .
I started to make wax miniature sculptures, remnants of my experience in sculpting wax jewelry for casting. But whereas the jewelry pieces were intended to be cast in silver, gold or brass, the miniature sculptures were meant to be lighter, and more transparent. That is how I got to translucent polyester.
I was also very intrigued by the different qualities of materials and their features/attributes, as well as their interaction. The search for materials that would help me create my imaginary worlds, has led me to solutions that   actually grew up from the advantages or disadvantages of a certain material. The sculpture
"Woman in poses" uses the casting technique to duplicate the same figure over again. The four figures sitting alienated to their surroundings are an example of an idea being born from technique. In contrast, the accidental spilling of polyester created the thin translucent foliage in "Little Red Riding Hood".
In later paintings and sculptures I juxtaposed my miniature worlds. I found it a challenge to create a confrontation between subjects, perspective, color and texture.
Examples of this are in the paintings "Talia" and "Life cycle", in the relief 9 squares, and in the three pieces titled "Three Horizons"
The Three Horizons enabled me to build layers of worlds, one on top of the other, in an attempt to create a sense of infinity as in our cosmos.
This period of worlds concluded in my creating enclosures for meditations .Here painting and the three dimensional become one. In "A house for one man" the viewer is invited to enter the painting, to sit and be encompassed by color, texture and images.
In the late 1990s I traveled to India to see tribes and was very excited by the images of early Indian culture. Since then I have wanted to achieve the basic primacy of forms. Examples of this can be seen in "Man on a wheel", "Standing Man" and in the salt sculptures and in paintings, "five panels" and "Strolling".
A new chapter of work started when I hiked along the magical beaches of the Dead Sea. I discovered how salt crystals cling to wood, metal, stone and transform them into new objects. The transparency of the crystals and their twinkling light gave the objects the quality of floating, non-material I had loved before in the polyester.
In 2000 I started the long and often frustrating journey of making salt sculptures. After many attempts and failures I succeeded in creating tall narrow images of salt. This same basic, primal quality is also what I looked for in my later paintings "Five Panels" and "Strolling".

My Curriculum Vitae

Subpages (1): Curriculum Vitae
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