My work is based on the concept that man functions according to the same
laws as all other creatures of nature. Therefore, the urban environment is not an
artificial creation but a natural habitat that we have created for ourselves.
Through the exploration of the connection between man and nature, I create
sculptures and environments that are contemplative and serene. The overall impact
is of a warm and welcoming presence.
The materials I use in my sculptures: slate, shingle, bluestone, and boulders, are from
the immediate area surrounding my studio in New York City. The slate roof shingles and bluestone
are sedimentary rocks, which were formed by layers of sediment compressing over millions of years.
Slate and bluestone are used throughout the city for roofing and building and also used in sidewalks,
backyards, and for landscaping. Brought to the area by glacial movement during the ice age, the boulders
in my work come from construction sites nearby my studio.
I hand carve each individual piece of stone with a hammer and chisel, exposing the stratified
layers of the bluestone. I then stack these stone layers to create figurative sculptures. Although
at this point the pieces stand by themselves, I bolt them together with threaded rods and glue for
permanence and safety of the viewer. My process parallels natural transformations in stone and
recalls ancient methods of construction that rely on the cut and weight of the stone rather than on
mortar. The pieces are linked to natural processes and look as though created by wind, water, and time.
By using the natural forces of rocks, my work awakens ancient "earth senses" that were
slowly abandoned by man during his evolution to civilization. By carving the stone, I release its
inherent energies. This stone sculpture now carries a direct message to the soul of the viewer. Man
came from the earth and in death returns to it. I see stone as the bone structure of the earth.
For select stone pieces, I continue the process by casting the sculpture in bronze,
creating a limited edition of five to seven works. Bronze is a durable substance that expands the
possibilities of placement of the work in public contexts while at the same time connecting the piece
to the history of figurative sculpture.
When I first began naming my figurative pieces I chose the names of my childhood
friends. Soon, I realized that my personal association with names was rooted in the
Bible, as there is a strong Israeli tradition of using Biblical names. It was a
natural and logical progression for me to begin to draw my titles from the beautiful
names found in the Old Testament. The titles are never meant as literal
interpretations of Biblical characters or stories, but rather a reflection of my
cultural heritage. Using these names as titles for my figurative sculptures is a
personal way to identify them.