Born in Belgium in 1947, on the way to Palestine, to parents from labor camps and grandparents lost to death camps, my art is my history. Intensity, fury, contemplation, and mirth in my work follow the whims of my path.

My work and art have always been the same. Released from childhood at fourteen to an apprenticeship at a graphic arts studio, I was rapidly exposed to the artistic community of Tel Aviv and the responsibility of adulthood. Mixing with those much older than me, many of whom had already completed their army service, I joined the Baat-yam school of plastic art. Here, art discussion, art making, and art study became a permanent part of me, and I began my lifelong trade as a builder of movie and theater sets, worlds fairs, and always, art.

In 1974, with service in the Six Days war and the 1973 Yom Kippur war fresh behind me, I emigrated to New York. Working in Tin Pan Alley building sound studios, I also spent a year editing films. When my first son was born in 1977, I decided to pursue my neglected dream and commit myself to the production of my art as an individual.

Several major veins of work have continued for decades. All involve the same craftsmanship and thoughtful intensity.

Beginning in the ‘80s, a series of large, human-scaled organic shapes taken from nature and fantasy inspired by primitive art, began a continuing motif. Instead of the gallery standard “Do Not Touch,” my work has always invited “Do Touch” in an immediate and pressing way. From there I created a series of work called “Fractured Art,” that entailed slicing 3” to 6” dowels and reassembling to create a volume.

In 1995, after the assassination of Yitzhak Rabin, my art led me to craft the 22 Hebrew letters from solid blocks of padouk. This work, born from a need to address the upheavals of the Middle East since my birth, has continued to inform and be the basis for new work. The Hebrew letters are a critical link between secular Judaism and religious Judaism, at once both a sacred and revered language for the Sabbath, and a cursing, spitting tongue for the every day occurrence of life in Israel.

In 2003, my work took on a new dimension of interactivity. Previous ideas about human interaction and conflict became embodied in large scale installations to stimulate and invite the eye and thought of passersby. On a hill near Saugerties, New York, I installed one thousand flags to the delight of passing cars on route 212. In 2007 I placed my work “Dependence,” interlocking 4’ square cubes that create infinite perspectives and conflicting geometric lines as you walk or drive around them. In 2005, taking the phrase “Swords into Ploughshares,” I began my series “Spears into Art.” Over 30 spears deal with the topic of instruments of war turning into instruments of art.

Finally, a 2007 cabinetry project in an apartment with a broad view of the mania of New York led to my latest interactive stimulant art- “15 minutes of Frame.” Inside that apartment I created a substantial wooden frame that that could be placed against any favorite view, as a sculptural and framing device. For several months during the summer of 2007, a larger scale 8’x10’ red frame occupied the edge of a famous Woodstock vista: the corn field facing Overlook Mountain. Always was the frame occupied by people sitting, standing, taking photographs, performing… and eventually writing letters of delight and controversy to the Woodstock Times.

The results of this adventure are often as unexpected and surprising to the artist as they are to the viewer.