Thursday, December 20, 2012


Little Giant
Clay Face
Portrait II

 Dream Things
A Story 
Odd Friends
 Paper Dolls

Monday, December 10, 2012


Faded Beauty
Moon Bride
 Outside Looking In
Barbie from the rummage store
Sidewalk Stroll
Night Visit
Two Sad Dogs

Sunday, November 25, 2012



 Big Bear
Sleeping Doll
'Lil Purple Horse



Tuesday, November 13, 2012


Time Piece

The Visit


Tuesday, October 9, 2012


     THE EPHEMERAL VOYAGE                                                   
A Transcript of my Artist Presentation


 This paper was written as a preparation for my Artist Presentation of the Ephemeral Voyage.

It describes my project which was completed during the last seven years:

The project includes three parts:

1.     Allegories, paintings

2.     Diminutive Fables, prints

3.     Afternoon Hours, collage, poetry, calligraphy and gallery performance.


The Ephemeral Voyage addresses the changes and realization I have faced and dealt with at the transition years in which I turned from what is considered by society an adult into an elderly, realizing the inevitability of my mortality.


Background and Influences

Being a story teller I strive to communicate in my narrative paintings, trepidations and challenges that we as human beings face in our daily life. I also want to tell about visions and fantasies I turn to when I need a respite from my actual surroundings, such as daily news, economic concerns etc. which are quite overwhelming sometimes. I use representational images to depict these stories. My tales are not linear extensions in time; they rather focus on one crucial moment. Whatever happened earlier and is about to happen in the future is open to interpretation. I do not strive to present accurate academic depiction. I use imagery as needed, to describe my thoughts, day dreams, and everything else I want to tell about.


a.     Historical Origins of Story Telling

The beginning of fairy tales and other fantasy stories were originally delivered orally and transmitted from generation to generation. It is hard to compose a firm chronology or origins. The archetypal crone by the hearth could emerge as a mouthpiece of homespun wisdom. Warner suggests that even Iliad and Odyssey were once’ “just a heap of old wives tales”.

 "The [oral] traditions literally pass on,…between the generations, and the predominant pattern reveals older women of a lower status handing on the material to younger people, who include  boys,
sometimes, if not often, of higher position and expectation, like future ethnographers and writers of tales”. (Marina Warner: From the beast to the Blond p.17).

So although male writers and collectors have dominated the production and dissemination of popular wonder tales, those tales are often based on women’s stories from intimate or domestic milieu.

The Grimm Brothers’ most inspiring and prolific sources were women from families of friends and close relations.

An example of research into the feminine origins of a major story character, the witch (crone, hag) is the book BabaYaga by Andreas Johns. A Slavic language and literature scholar and a California and Washington State University professor, Johns examines documented records of old women story tellers from ancient past.
At the end of the 17th century in Europe women began struggling for self-expression and recognition. Women were using gathering locations such as the well, the washing places, the shops, and the streets as places for women’s criticism of contemporary society and for self-empowering conversations. Women’s “gossip” became the focus of great male anxiety. Religion and tradition were used to exemplify “Good” feminine behavior as opposing to “senseless women chat”.

Women chatter began to be compared to the mindless clucking of geese, thus creating the stories and rhymes of Mother Goose. These stories after a process of beautification and refinement became an important part in children’s classic literature.
Women’s chatter at child birth in a mother’s chambers with the presence of the mid wife was compared to the simple trumpeting sound of the stork who used to build nest and raise its young on top of roofs in Europeans communities, thus created the concept of the stork bringing human newly-born babies as well as children stories, to the world.

      b.     Reclaiming the Crone Archetype

30 years after writing her book The feminine Mystique who brought about the women’s movement in the US, Betty Friedan wrote another well researched revolutionary book she called The Fountain of Age. In this book she proves that the long post reproductive period in a woman’s life (the age of the ugly crone, the hag) is an opportunity rather than problem, adventure rather than curse, an age of growing rather than a time of physical and mental decline.
This is how I feel now in my seventies.  As most people my age, I am strong and healthy. Every day of my live is an adventure and I look forward and hope for many more years of creativity and growth.

c.      Comedia dell’ Arte
The theatrical settings in my prints and paintings are influenced in part by the figures and costumes of the European Comedia dell’ Arte, an old established form of improvisational theater.

The origins of the theater and play wright, including Shekspirian plays, can be traced to Commedia dell' Arte. It began in Italy in the 16th century and was responsible for the advent of stage acting and improvised performances based on sketches or scenarios. It was performed by professional actors (comici) who perfected specific roles or masked “types”.

 The characters of the commedia usually represent fixed social types, stock characters, such as foolish old men, devious servants, or military officers full of false bravado. Characters such as Pantalone, the miserly Venetian merchant; Dottore Gratiano, the pedant from Bologna; or Arlecchino, the mischievous servant from Bergamo, began as satires on Italian "types" and became the archetypes of many of the favorite characters of 17th– and 18th–century European theatre.

 I often use Comedia dell’ Arte theatrical style, its staging and costumes in my work because I aim to distance the situations I try to portray from actual life occurrences and give my ideas a sort of universal meaning. Every experience that is described in each painting or print is common; it can happen anytime, anywhere. Like a “comichi” I coat my stories with humor. Even though my pictures deal sometimes with the problematic elements in our lives, the message is mostly positive. There is joy in the bright colors, swift movements, and comical staging. With that I intend to say that whatever may occur, life is worth living.  


My Reasons for Making Art

I consider my art-making a way of life rather than a way of making a living. I aim for images and stories to come about spontaneously not unlike the way images and stories appear in dreams. By doing so I recognize concerns and preoccupations I have during my waking hours; Issues which I overlook, repress, or loose. Sometimes the works offer solution, new ideas and opportunities to examine different matters from new and unexpected perspectives.

I constant strive to improve my creative work. Like an alchemist I break (visual) element into their basic forms and recombine the forms through a process of sublimation, to create something new, stronger, more unique, revealing, and profoundly meaningful. I feel that by humbly improving my art, I improve my life and the life of those around me, my community, my country and my whole world. 

a.     Jung’s Collective Subconscious
I find the rationale for the influence of my artistic achievement on my life and my environment in Jung’s writing. Jung was a student and follower of Freud. Freud believed that we have subconscious areas in our psyche that were created during early childhood. Jung also believed in the subconscious but according to his theory, the subconscious is universal and it was created during thousands of years of human evolution and is common to all humans. In his book “Synchronicity and the Paranormal” Roderick Main present a collection of Jung’s writing about the phenomena of exactly same occurrences happening in different places at different times.

b.     The Chaos Theory
Many appearances and events that seem to be related randomly, are interrelated in unique and concealed ways. These interrelations which cannot be explained by conventional (Newtonian) physics are explained by the Chaos Theory. The Chaos theory was the basis for creating small size cellular phones, and other electronic devices, predicting the weather, diagnosing cancer growths and more. Visual example for the Chaos theory are fractals, a computer generated art form that became popular in recent year

It is said that the flutter of wings of a butterfly in Peru may bring about a Hurricane in the Atlantic, and the process can be explain using a Chaos Theory. Personally I have not found the exact formula that will explain the effect of my art-making process and the quality of my own life and the life of everything around me. I feel the interconnection intuitively and I am still searching for explanation, using every tool I can find to understand my world better, including the Chaos theory.


c.      Alchemy

In his book The Philosophers’ Stone, Alchemy and the Secret Search for Exotic Matter, Joseph P. Farrell writes about little known ideas in physics and ancient alchemy. He begins his book by telling about an Arizona Farmer who used alchemical processes to transform certain metals into a unique substance that appeared lighter than it was supposed to be and affected the pan that is was stored into, making it lighter than it was before the process, that is, it defied gravity. Farrel then continued to describe research that was done by American, German Nazi, and Chinese scientists to discover and produce this particular substance. It is assumed that whoever possesses such material can acquire control on the origins of creation itself. Unfortunately the purpose of the research to discover this “Philosopher’s Stone”, according to Farrel, was, and still is aimed to find the most powerful weapons of mass distraction.

In my art I feel that I follow alchemical processes. I break (visual) elements into their very basic substances and reassemble them again in a new and possibly better way. It is a process that at least theoretically gives me a feeling of being on the road of discovering something very unique and miraculous (the “philosopher’s Stone”?). It seems that the road itself has a promise of magic in it. This magic makes creating art meaningful and important in my life.


In this paper I have tried to describe briefly the origins of my representational, storytelling style and the rationale behind my drive to create. I did not attempt to offer a thorough research in any of the subjects mentioned. I only wanted to open windows to the myriad of possibilities available for an artist, a writer or anyone engaged in creative endeavor, a glimpse into the richness of our spiritual and intellectual possibilities and the opportunities for each of us to enrich our life and by doing so enrich the world we live in.


Short Bibliography 

1.      From the Beast to the Blond, Marina Werner, The Noonday Press, New York 1994

2.      Baba Yaga, Andreas Johns, Peter Lang Publications New York, 2010

3.      Jung on Synchronicity and the Paranormal, Roderick Main, Princeton University Press 1997

4.      Chaos, Prof. Steve Strogatz, (DVD and a Guide Book), The Teaching Co. Chantilly VA 2008

5.      The Philosopher’s Stone, Joseph Farrel, Feral House Books, Port Townsend WA 2009

6.      Alchemy and Mysticism, Alexander Roob, Taschen, London 2006

7.      The Fountain of Age, Betty Friedan, Simon & Sshuster, NY 1993

8.      Remedios Varo, Unexpected journey, Janet Kaplan, Abbeville Press NY 2000

Sunday, January 22, 2012







Brown Dog

Blue Boy


Antelope ll



Sunday, June 12, 2011


Fear Itself, mix medium on unstretched canvas, 8'x 5'

Heavy Flight, mixed medium on canvas, 8'x5'

Prayer, mixed medium on canvas, 8'x5'

Jacob Wrestling with the Angel, mixed medium on canvas, 8'x5'

Reaching for Empty Spheres, mixed medium on canvas, 8'x5'

A Tight Place, mixed medium on canvas, 8'x5'

The Keeper of the Gate, mixed medium on canvas, 8'x5'