My work is based on the concept that man functions according to the same laws as all other creatures of nature. Therefore, the urban environment is not an artificial creation but a natural habitat that we have created for ourselves. Through the exploration of the connection between man and nature, I create sculptures and environments that are contemplative and serene. The overall impact is of a warm and welcoming presence. The pieces look as though created by wind, water or other natural forces.

The materials I use in my sculptures: slate, shingle, bluestone and boulders, are from the immediate area surrounding my studio in New York City. The slate roof shingles and bluestone are sedimentary rocks, which were formed by layers of sediment compressing over millions of years. Slate and bluestone are used throughout the city for roofing and building and also used in sidewalks, backyards, and for landscaping. Brought to the area by glacial movement during the ice age, the boulders in my latest work came from construction sites in Brooklyn. I carve each individual piece of stone with a hammer and chisel, exposing the stratified layers of stone. I stack these stones to create figurative sculptures. The stone figures rely on universal shape and form instead of specific features. My process parallels natural transformations in stone, and also recalls ancient methods of construction that relied on the cut and weight of the stone rather than on mortar.

By using the natural forces of rocks, my work awakens ancient "earth senses" that were slowly abandoned by man during his evolution to civilization. By carving the stone, I release its inherent energies. This stone sculpture now carries a direct message to the soul of the viewer. Man came from the earth and in death returns to it. I see stone as the bone structure of the earth.

For select stone pieces, I continue the process by casting the sculpture in bronze, creating a limited edition of five to seven works. Bronze is a durable substance that expands the possibilities of placement of the work in public contexts while at the same time connecting the piece to the history of figurative sculpture.

When I first began naming my figurative pieces I chose the names of my childhood friends. ÝSoon, I realized that my personal association with names was rooted in the Bible, as there is aÝstrong Israeli tradition of using Biblical names. It was a natural and logical progression for me to begin to draw my titles from the beautiful names found in the Old Testament. ÝThe titles are never meant as literal interpretations of Biblical characters or stories, but rather a reflection of my cultural heritage. Using these names as titles for my figurative sculptures is a personal way to identify them.

Boaz Vaadia