Striped and Curved

                                       

Seahorse

Pink and orange, sandblasted, coated with crystal clear to make it shine and ready for hanging.

Glass - blown clear and blue enamel

Far left will be worked again but these are shaping up to be fantastic editions to the blue/aquatic theme I've been working with.

Flower Paintings

This is a PaintNite creation, simple flowers (I did adjusted the flower type and 'liveliness').

It reminded me of another painting I created a long time ago. I adore the smoothe quality of flowers in contrast to the oh so solid vases. 

Sand Cast Glass

The sides are cold works to stand and add a compelling smooth polished side.

Untitled Sculpture (Sotah 7:5) cast glass

Sotah 7:5 tells of the Blessings and Curses ritual, which must be done in Hebrew. At the conclusion an altar made of stone and plastered with plaster has "all the words of the Torah'" carved into the plaster in seventy languages. The dichotomy of using stone, a relatively permanent material, and covering it with plaster, a disposable material that needs to be reapplied often, compelled me to think on ideas of permanence and impermanence in Jewish thought as well as the implication of retaining 'all the words of the torah' on such plaster covered stones. Further reflection also questioned the permanence of language and text, finally returning to define 'permanence' itself, sometimes as unchanging or flexibility to change. These thoughts fueled the creation of a glass stone, a simultaneously fragile and long-lasting material, engraved with the phrase " all the words of the Torah".

Canopy

Inspired by a jewish wedding ceremony where the chupah/canopy and kiddushim/vows. 

Materials: white lace, black velvet acrylic paint.

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.