I am interested in the power of ritual to create community, celebration, inspiration, and healing. It is important to bring people together to notice their humanity, what they think, and feel, and dream of, and how they are strengthened by their connection to each other and the natural world. Art has many ways to accomplish this through the processes of installation and participatory performance. Collage and assemblage allow memories and memorabilia to be “woven” into personally treasured objects. Click images for a larger view.
Dwelling Place
screwed, bound, and pinned
9' H x variable size walls up to 14' W x 15.5' L
2011
"Dwelling Place", a Kosher installation during the Jewish Festival of Sukkot. Sponsored by Hillel of Southern Maine and the University of Southern Maine. Funded by the Linda and Joel Abromson Award.
Sukkot is a fall Festival intended to joyfully reconnect people with the spirit of nature and forces larger than ourselves. It is a reminder that Jews wandered for 40 years in the desert with no permanent home. As we rejoice in our blessingsl we may also remember that there are still people in our own communities who do not have a permanent home.
Traditional Jews eat, sleep and live in the Sukkah for a week, as weather permits. The roof, made of natural materials only, is required to be somewhat open to the sky, enough to see the stars. I have used local branches and saplings along with recycled plastic to create a space for celebration, community, contemplation, and prayer.
For more information, here is the Portland Press Herald article.
Traditional Jewish 'papercuts' in recycled plastic for the project are by Arlene Bandes and Dean Bandes.
photo by Rosalba Breazeale
More photographs and history of the process and installation of this project.
Mezuzah Cover for new, contemporary style, sanctuary with sweeping curves, Congregation Bet Ha'am , Portland, Maine
2009
In creating my mezuzah cover for the Congregation’s new building, I considered the power of words and prayer to inspire and focus us. Hebrew calligraphy has the ability to connect us to a history, a people, and a source of identity. This ancient text seemed too beautiful to be completely hidden, yet too complex in its intent to be left completely visible at first glance. The curves of the sanctuary roof and the simplicity of the contemporary building design led to the shape and material I used. Plexiglass is warm and, when sanded, silken to the touch. I wanted the person touching it to look forward to touching/seeing it again. I wanted the text under our fingers to be the focus of attention.
altar/table
Hannukah 2004
a woman of valor
An ode to my mother, utilizing her mementos. 2004
Hebrew Blessing
Wall hung two-part blessing for the Fruit of the Tree 2003
punctuation series
Ceremonial objects for the transition to womanhood. Created for a collaborative project with letters, each made by a different artist. So much about our society and the English language is called “generic”, yet is actually male. It seemed that a “woman’s touch” might be useful, as well as fun. This literal interpretation led to an exploration of the material as well as the concept. 2005