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
Untitled (Joints), 2022
TextImages
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
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.
Reflecting Pool (No Garden Without A Snake), 2017
TextImages
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)
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
TextImages
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
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.