Ghosting

Blue pigment and a spray bottle.

Lipstick Woes

Acrylic, 30x40 canvas

Here are detail pics so you can fully enjoy the piece.

Prehistoric Glass Figurines

The contemporary and prehistoric glass female figurines were an outcome of an assignment to reproduce a prehistoric ‘art’ piece, known as “the nun” or “flattened figure” with the original stone tools. The figure later manifested in another wooden carving I created, alongside a more contemporary female figure. I made an imprint of the carvings onto a sand mixture, then poured hot clear glass into the imprint. The piece allows the viewer to contemplate ideas of beauty taken out of context and juxtaposed, implications of different material properties, the artist’ hand, object production, as well as the ties between the past and present.

These were displayed at the Gallatin Arts Festival.

They are about a handspan wide and tall.

Prehistoric Figurine Carvings

Inspired by an archaeology assignment to recreate a prehistoric female figurine, 'the flattened figurine' or 'the nun'.

I first carved it in talc with my friend for the assignment. Then I carved it in wood to press into sand, and pour hot glass onto the imprint. (It's in the kiln now!)

City-Scape I

Inspired by Surrealist in-scapes, I use my home, New York, and my instincts to generate the creation of abstract ‘city-scapes’. My first glass city-scape was this fused and slumped plate. I love the dynamism and continuous movement of a circular form. The glass's sheen also emphasize the romantic visual articulation of a bustling city.

Glass Kiln Work, Turtle

I sculpted clay, made it into a wax, cast it into a plaster, steamed out the wax and pulled out the clay, carefully placed colored frit and clear cullet, hours and hours later it emerges from the kiln: one beautiful turtle.

I think I'll call him Squirt. (A Finding Nemo honorary) 

Printmaking!

Some of the last prints I made. The Reap Pete series had 18 prints. They are 3 different parts with various sculptural elements (egg and wrapper).

Did you find the words? Egg Anne (again), Wrapper Titian (repetition), and Reap Pete (repeat).

Knife Painting, City

In The Blink Of An Eye

Selections of a few first pages of a small animation.

Eye > planet > volcano > lava > energy > neutron > chromosome > mitosis > cell > eye.

Jerusalem Speaks

This piece was returning to a dialogue I had lost with God. I returned to that dialogue when I returned to Jewish text and, similar to the other artists, it was connected to my return to Israel too. I created 12 small 8 x 10 textured acrylic paintings of the stone in Jerusalem and its surrounding hills. I placed the paintings into a 4 x 3 layout that mirrors the priestly tool for divine communication in the temple known as the Hoshen.

      

Returning, an Exibit at NYU Kimmel Galleries

Returning: An exhibit relating to the creations of three emerging Jewish female artists, whose common interest in "Returning" to a memory, a place, or dialogue guides their artistic expression. 

When I asked some friends to send me some submission for a possible art show, I didn’t think I would get pieces that would be related to eachother.  I mean, I hadn’t asked for specifics, right?

“Hey guys! So I’m concluding my internship and before I do I’m using the free space in one gallery for a show! Got anything for me? –A.”

They did have pieces and immediately the relationship between them was obvious to me. While I had been asking for random works of art, I had not asked random persons. Two other participants of the show, Fortune Chalme and Naomi Feuerstein, and myself are all residents of New York. We are all emerging Jewish artists, all in our 20’s, and are looking at life through our various backgrounds and art experiences. Almost a year ago we were together at Fortune’s house and acknowledged the difficulty of including Jewish references into our art, which would tend to make it uninteresting to a wider audience (don’t they know ‘regular’ art is Christian in origin?!). By leaving the call for art open, but unintentionally selecting participants who would relate to one another, we each contributed pieces that spoke about who we were. As a result of this expression, the title of the show was Returning.

Naomi brought a collection of collages on small pieces of wood in various sizes that she fit together at every installment site. The collages contained memories (some with fragmentary photographs of herself as a child), dispersed throughout the larger work as well as symbols, magazine cutouts, and some text.  She was returning to a memory whose start titled the piece; I should have gone swimming in Eilat...

Fortune brought three 24 x 30 C-prints of photographed street art she created. Fortune had looked to return a place where she felt there was a connection to rediscover.  To connect to her ancient homeland, Israel, she did as the first Zionist pilgrims did, working Hamakom (the place) itself.

My own piece was returning to a dialogue I had lost with God. I returned to that dialogue when I returned to Jewish text and, similar to the other artists, it was connected to my return to Israel too. I created 12 small 8 x 10 textured acrylic paintings of the stone in Jerusalem and its surrounding hills. I placed the paintings into a 4 x 3 layout that mirrors the priestly tool for divine communication in the temple known as the chosen.

            The concept of returning to a memory, place, or dialogue is a human concept, really about coming to try and return to an idea of oneself. Here a return is accessed visually through various mediums, thoughts, actions, texts, and, proudly, through things Jewish. I encourage all humans to see the show in person at NYU’s Kimmel Center for Student Life, 2^nd flr. Commuter Lounge, 60 Washington Square South, New York, NY.  The show ran from January 31^st – March 22^nd 2013

 

RSVP on the Facebook event page:https://www.facebook.com/events/342844005822381/ 

My art as the cover photo

The cover photo of the Gallatin course book summer 2013 is my painting lipstick woes, a 30 x 40 acrylic.