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​​Early in life, one encounters treasures of the natural world, and thus begins the weaving together of imagination and reality into the magic carpet of artistic creation. From a child, I was involved in painting, drawing, and sculpture, and continue to this day in these media. I was also interested in different countries and cultures. While living in London in the late 1960s, I explored insertions of text into structured, architectural contexts reflective of human personalities. In my drawings of those years, my “calligraphies," language-like markings, were expressive of a sense of seeking a language, and an awareness, not just human: words could be multidimensional, embodying the voices and elusive meanings of objects and spaces and of other life forms, as well as of other people. Subsequently, in southern France, in the Luberon area, I was struck by the landscape, inhabited and fashioned over generations by a local farming tradition. This context gave an anthropological grounding to my interests in languages other than verbal, and was catalytic to my developing, in the late 1970s, a specific “Art as Visual Language” approach, to bridge gaps, between words and images, self and other, observed reality and imagination. Its sequence of structured steps, alternating with walks in landscape, are a vehicle for rounding up fleeting moments of perception and thought, and for bringing them into my art.


I also evolved a Landscape Alphabet, which I use to transcribe poems I’ve written into my drawings. As well, my works on paper and canvas are often quick and “free”, with neither of the Visual Language approaches. The landscape in France, as well as other landscapes, was an incentive to becoming involved in photography. Walking through the landscape, I am struck not only by the aesthetic and cultural richness, but also by the cognitive challenge: different views have intriguing correspondences, echoes of shapes and forms, geometric patterns, interwoven levels of terraced hillsides. This prompts my taking a series of photos of the same place over time, as well as of the people who work such landscapes.Drawing and painting, and photography, for me are interrelated; for example, in the drawings one may find views seen in the photos too. However, the drawings are not done from photos, rather from the lived experience of spending many hours outdoors. In the drawings, human figures, often couples, reflect this close relationship with landscape, sometimes they are even partly constituted of landscape elements.


My photographic work has also been involved in goals of landscape/cultural heritage/biodiversity preservation, in publications and exhibits.  


About me

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