Earth Spirit (Mask for Eight People), 2022
TextImages
cotton, wool, linen, and silk with metal buckles, 220×90×20 cm
cotton, wool, linen, and silk with metal buckles, 220×90×20 cm
First Six Panels, 2018
TextImages
228 image reproductions on six display tables
70x200 cm (each)
228 image reproductions on six display tables
70x200 cm (each)
Untitled (Joints), 2022
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color photographs (back to back): archival inkjet prints on cotton rag paper, 80×120 cm each
board: pine and oak wood, 208×136×50 cm
color photographs (back to back): archival inkjet prints on cotton rag paper, 80×120 cm each
board: pine and oak wood, 208×136×50 cm
Untitled (HaLevana), 2018
TextImages
screen print, offset print, foil emboss and pencil on black paper in artist frame
47X35 cm
screen print, offset print, foil emboss and pencil on black paper in artist frame
47X35 cm
Knots, 2022
TextImages
block tower: pine wood, 44×51×40 cm
three nesting tables: pine wood
43.5×43.5×37 cm
50×50×38.5 cm
56×56×45 cm
block tower: pine wood, 44×51×40 cm
three nesting tables: pine wood
43.5×43.5×37 cm
50×50×38.5 cm
56×56×45 cm
Blue Ringed Octopus, 2013
TextImages
mahogany wood, marbled paper, Earthenware, octopus ink.
120x38x38 cm
mahogany wood, marbled paper, Earthenware, octopus ink.
120x38x38 cm
Untitled (Mirrors), 2022
TextImages
paper works (back to back): natural pigments on cotton rag paper, 108x79 cm each
structure: maple wood, 214×93×78 cm
paper works (back to back): natural pigments on cotton rag paper, 108x79 cm each
structure: maple wood, 214×93×78 cm
Butterfly and Spear, 2013
TextImages
granite, brass
54x6x6 cm
granite, brass
54x6x6 cm
Segula, 2016
TextImages
natural pigments on paper,
101x66.5 cm
natural pigments on paper,
101x66.5 cm
Gates of Tears, 2021
TextImages
ink and color pencils on paper in artist frame (cypress wood)
ink and color pencils on paper in artist frame (cypress wood)
A personal prayer I wrote in Hebrew, translated to Yiddish, then translated again into a Yiddish stenography system developed in 1925 by Fanny (Feiga) Schargorodska, that (as far as i know) was never in actual use.
Nails, 2018
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thorns, thread, paper
63x93 cm
thorns, thread, paper
63x93 cm
Red Giant, 2013
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cardboard, Formica laminate, quartz surface, paper and samovar
220x180x40 cm
cardboard, Formica laminate, quartz surface, paper and samovar
220x180x40 cm
Resurgence, 2018
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archival inkjet print on cotton rag paper, brass castings, industrial paint
63X93 cm
archival inkjet print on cotton rag paper, brass castings, industrial paint
63X93 cm
Emerald Centipede, 2016
TextImages
natural pigments on cotton rag paper
101x66.5 cm
natural pigments on cotton rag paper
101x66.5 cm
Statues Also Die (and are reborn), 2015
TextImagesHD video, 8min
HD video, 8min
Both Hands, 2010
TextImages
pencils on green paper
50x70 cm
pencils on green paper
50x70 cm
Pineal Gland, 2010
TextImages
archival inkjet print on cotton rag paper
180x120 cm
archival inkjet print on cotton rag paper
180x120 cm
Reflecting Pool (No Garden Without A Snake), 2017
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concrete floor relief, granolith cast sculpture, cacti and succulent garden
(public plaza, 33 Shaul Hamelech st. Tel Aviv)
concrete floor relief, granolith cast sculpture, cacti and succulent garden
(public plaza, 33 Shaul Hamelech st. Tel Aviv)
Ouroboros, 2013
TextImages
silver steel, blue candles, Carrara marble, bracelet, industrial paint.
27x27x20 cm
silver steel, blue candles, Carrara marble, bracelet, industrial paint.
27x27x20 cm
Bird, 2018
TextImages
bird-of-paradise flower, water, glass, plywood and cherry veneer.
138x15x15 cm
bird-of-paradise flower, water, glass, plywood and cherry veneer.
138x15x15 cm
A bird-of-paradise flower is placed within a glass vessel made of three parts in blue, red and yellow. The flower is so named for its resemblance to a spectacular bird that seems to be drinking nectar from its stem: the wide sepal that carries the flower resembles a bird’s stomach, with the sharp angle between the stem and the sepal evoking a beak, and the petals appearing like fluttering wings. The form of the bird suggested by the flower entices nectivorous birds to land on its “stomach.” Pollen particles stick to their legs and fall off as they fly onto the next flower, contributing to the plants’ pollination and reproduction.
Like the glass vessel, the flower too – belongs to the monocotyledon group – comprised of multiples of three: three petals, three stamens, and so forth. It also has three colors: orange sepals, purple petals and green stem. The vessel is made of the three primary colors, the flower of the three secondary colors. Together they comprise the full color wheel—two that are one, and one that breaks up into its elements.
Olivewood Skull, 2022
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carved olive wood after a 3D scan of the artist’s skull: 15x16x24 cm
set of six oval (Shaker style) nesting boxes: cherry wood and copper
17x18x27 cm
18.5x20.5x30.7 cm
20x23x34.4 cm
21.5x25.5x38.1 cm
23x28x41.8 cm
24.5x30.5x45.5 cm
carved olive wood after a 3D scan of the artist’s skull: 15x16x24 cm
set of six oval (Shaker style) nesting boxes: cherry wood and copper
17x18x27 cm
18.5x20.5x30.7 cm
20x23x34.4 cm
21.5x25.5x38.1 cm
23x28x41.8 cm
24.5x30.5x45.5 cm
Mirror #1, 2022
TextImages
natural pigments on cotton rag paper
108×79 cm
natural pigments on cotton rag paper
108×79 cm
HaLevana, 2010-2014
TextImages
sculpture: painted bronze, color photograph (archival inkjet print on cotton rag paper; photographed in Arcosanti, Arizona), 35×20×3 cm; leg: painted brass, 125×3×3 cm
sculpture: painted bronze, color photograph (archival inkjet print on cotton rag paper; photographed in Arcosanti, Arizona), 35×20×3 cm; leg: painted brass, 125×3×3 cm
Seashell Ball, 2022
TextImagesball: plaster, sand, and seashells (Glycymeris nummaria), 16, 20, 30 and 40 cm diameter
base: fired and glazed stoneware (glazed using a historical glaze recipe developed for the Italian Futurists at Studio Mazzotti; created by Tullio Mazzotti, Albisola, Italy), 2×30×30 cm
ball: plaster, sand, and seashells (Glycymeris nummaria), 16, 20, 30 and 40 cm diameter
base: fired and glazed stoneware (glazed using a historical glaze recipe developed for the Italian Futurists at Studio Mazzotti; created by Tullio Mazzotti, Albisola, Italy), 2×30×30 cm
Snail-knife, 2022
TextImages
titanium, brass, silver, snail shell, pencil on paper, felt, plywood and cherry veneer.
138x80x95 ; 7x17x5 cm
titanium, brass, silver, snail shell, pencil on paper, felt, plywood and cherry veneer.
138x80x95 ; 7x17x5 cm
Examining medieval scrolls, I chanced upon an image in the illustrated marginalia—a frightened knight fighting a snail. Confronting the snail, with its spiral shell that seems to imply the infinite dimension of the universe and the ability to travel backwards and forwards in time, the mortal knight, whose physical power and time are limited, can but beg for his life.
Two straight lines intersect on a sheet of paper resting on a small stand. A rod rises from this intersection supporting a small object: a palm-sized knife. The handle of the knife is made of snail shell out of which emerges a silver-plated brass body and an anodized blade. This object faces and stretches in two directions simultaneously. One coils inwards, the other juts out sharply and turns outward.
The object on which the snail-knife rests recalls in its logic monastery choir stalls, furniture that demark independent spaces, disconnected from their surroundings, almost separate rooms. Choir stalls include a chair and a stand for placing a book, for writing, or for presenting various objects—mostly sacred icons—for contemplation and reflection. This is a protected, intimate space for a moment of exhalation and inhalation, filling and emptying, reading and writing.
Wars of the Lord (Lost Unity), 2022
TextImages
weave: cotton and wool, 800×70 cm
structure: beech wood, 400×82×126 cm
weave: cotton and wool, 800×70 cm
structure: beech wood, 400×82×126 cm
Pomegranate, 2022
TextImages
object: borosilicate glass, 12×6×3 cm
glass bottle with pomegranate liqueur, 33×11×11 cm
base: ash wood and copper, 108×96×36 cm
object: borosilicate glass, 12×6×3 cm
glass bottle with pomegranate liqueur, 33×11×11 cm
base: ash wood and copper, 108×96×36 cm
Untitled, 2022
TextImages
archival inkjet print on cotton rag paper
60x90 cm
archival inkjet print on cotton rag paper
60x90 cm
Tear Catcher, 2022
TextImages
vessel: blue soda-lime glass, 22×6×6 cm
stand: borosilicate glass, brass frame, 12×12×12 cm
base: rammed earth, 100×30×30 cm
vessel: blue soda-lime glass, 22×6×6 cm
stand: borosilicate glass, brass frame, 12×12×12 cm
base: rammed earth, 100×30×30 cm
Untitled (Bookmatch #1), 2015
TextImages
natural pigments on paper and archival inkjet print on cotton rag paper
60/42 cm
natural pigments on paper and archival inkjet print on cotton rag paper
60/42 cm
Sun, Dial, 2022
TextImages
woodblock print on paper, matboard, aluminum, and mechanical apparatus
108 units
580×660 cm
woodblock print on paper, matboard, aluminum, and mechanical apparatus
108 units
580×660 cm
The (long) red dial rotates clockwise, indicating the local time at the given timezone; the (short) black dial rotates counter clockwise, moving across the letters of the artist’s Hebrew name, completing a rotation every sixty minutes
Asmodeus, 2022
TextImages
house of cards: letterpress print on paper, 24×21.6×6.3 cm
step ladder: cypress wood, 96×30×30 cm
house of cards: letterpress print on paper, 24×21.6×6.3 cm
step ladder: cypress wood, 96×30×30 cm
cards after Zeev Raban, Palestine Playing Cards, ca. 1920; recto: Asmodeus after the Joker card; verso: montage of the Queen card-Batsheva, King card-Solomon, and a portrait of the artist’s wife
Shira and Maayan (An Allegorical Wedding), 2018
TextImages
lambda print
66x46 cm
lambda print
66x46 cm
Rattle, Teether and Whistle, 2020
TextImages
925 sterling silver, pure silver, lapis lazuli, coral, amber, juniper wood.
12x3x3 cm
925 sterling silver, pure silver, lapis lazuli, coral, amber, juniper wood.
12x3x3 cm
For Laila Elyakim
Untitled (Embroidery), 2022
TextImages
woodblock print on cotton rag paper, 76.5×57; frame: cherry wood, 103×68×20
woodblock print on cotton rag paper, 76.5×57; frame: cherry wood, 103×68×20
Black Is The Color Of My True Love’s Hair, 2010
TextImages
archival inkjet print on cotton rag paper and matting in triangular frame
20x30x1.5 cm
archival inkjet print on cotton rag paper and matting in triangular frame
20x30x1.5 cm