lambda print
66x46 cm

woodblock print on cotton rag paper, 76.5×57; frame: cherry wood, 103×68×20

archival inkjet print on cotton rag paper and matting in triangular frame
20x30x1.5 cm

228 image reproductions on six display tables
70x200 cm (each)

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

screen print, offset print, foil emboss and pencil on black paper in artist frame
47X35 cm

paper works (back to back): natural pigments on cotton rag paper, 108x79 cm each
structure: maple wood, 214×93×78 cm

granite, brass
54x6x6 cm

natural pigments on paper,
101x66.5 cm

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.

thorns‭, ‬thread‭, ‬paper
63x93‭ ‬cm

cardboard, Formica laminate, quartz surface, paper and samovar
220x180x40 cm

archival inkjet print on cotton rag paper, ‬brass castings‭, ‬industrial paint
63X93‭ ‬cm‭

natural pigments on cotton rag paper
101x66.5 cm

pencils on green paper
50x70 cm

silver steel, blue candles, Carrara marble, bracelet, industrial paint.
27x27x20 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.

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

natural pigments on cotton rag paper
108×79 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

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

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.

weave: cotton and wool, 800×70 cm
structure: beech wood, 400×82×126 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

archival inkjet print on cotton rag paper
60x90 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

natural pigments on paper and archival inkjet print on cotton rag paper
60/42 cm