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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. İSoon, I realized that my personal association with names was rooted in the
Bible, as there is aİstrong 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. İThe 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
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