STATEMENT

  • Wipe your glosses with what you know.
  • James Joyce

I have had a lifelong interest in Lewis Carroll's Alice's Adventures in Wonderland and Through the Looking Glass. My most recent body of work uncovers a visual world that I have created, where natural laws are suspended.

For example, the work titled The Antipodes alludes to Alice's musings as the tumbles down the rabbit-hole. Is she falling through the center of the earth where the people walk with their heath down? The drawing Free Fall reveals my exploration of a world where objects move freely in a normal/abnormal state; charcoal dust falls in shadows depicting a memory or a prediction of the location where an object existed or not, or will or may never exist.

I am interested in the difference between perception and reality. My work is rooted in the ways in whbh the scale of objects and their meanings may be opposite and the same—at the same time; the unity of opposites, the co-existence of being and non-being.

Alice wants to knowwhat the flame of a candle looks like after it is blown out. Like Alice, I want to see the insides of things in themselves. What we perceive is not always what objects and beings appear to be. I convey in my work the way in which appearances change but essence and identity do not. The Cheshire Cat's smile appears with or without the cat itself.

BIO

Born and raised in the quirky arts and cultural life of Baltimore, immersed in the sacred and magical traditions of Orthodox Judaism, inculcated in formalism and high art, I set out for Northern California, where more of my world expanded. Following nine years of work for the San Francisco Opera that further built my repertoire, I moved to the United Kingdom. I lived in northeast London, making art while living in a warehouse on an industrial estate shared with Turkish Cypriots who were making clothes for Marks and Spencer. It was a life-changing experience. Returning to the Bay Area, I began to compose charcoal drawings of my possessions in shadow. I used the softest charcoal possible so that dud fell, forming shadows, revealing an inner dialogue between the object dram and the meaning each object unfolded, a silhouette containing a symbolic or not-symbolic language.

The drawings are revelations of my subjective choices–those sacred artifacts of magical everyday, holding one's personal mythology. I impose the mystery gleaned from personal experience and dreamlike memories upon each draping trail it becomes a concise poetic form.