I came from France to Israel in August 1950 with the “French Group” arriving straight to Kibbutz Hanita in the Western Galilee. At that time there was practically no place for art. After no small amount of anguish I eventually got the permission of the kibbutz authorities to spend one day a week sculpting, the art I loved more than anything else. At this time I even kept away from studying sculpture with my excellent teacher, Rudi Lehman, who was inculcating the art into his students in Ein Hod.
As I became more involved in the discipline of sculpture, I felt that I had to be in a totally artistic atmosphere and so I decided to move – to live and create in Ein Hod in the pastoral Carmel Mountains. The Artists’ Village was founded at that time (1953) and I was privileged to be among the handful of founders. I am still a member of the Ein Hod Artists’ Village to this very day.
I well remember the stereometry exercises that Rudi Lehman taught us to perform with plaster and I can still feel the sensation of the difficulty I experienced in performing them, but the artistic opulence and experience that I gained has accompanied me in my work with materials over the years.
Natural materials such as stone, wood and terracotta excite me. There is this mass; an imaginary line traps it, like a drawing, begetting the bulk. This, for me, is the essence of sculpture. Have I managed to create an impression of my soul from the material? I, as a lodestone, absorb the vicissitudes of time, and what is more important to me than anything else is the human being. I hope that I have managed to express this in my work.
To balance the restraint and ponderousness of sculpture I had a need for effusion and spontaneity and these I found in my work in the techniques of woodcutting (xylography).
In this website I have brought together works from different periods over the years from my sculpture and woodcuts that contain within them some story of the history of the struggle of the artist for creative freedom.