I use flowery upholstery fabrics that remind me of the classic European style prevalent in the community where I grew up in Israel, a community of immigrants who made an effort to integrate into a new society while still longing for the culture they left behind. The Lilith “fabric drawings” use these fabrics and sewing pins in reference to traditional “proper taste” and traditional feminine domestic tasks. Many of the works feature female figures emerging from a vegetation design made of multiple soft fabric pieces held together by prickly sewing pins to form a large patchwork that seems likely to fall apart at any moment.
ink and charcoal on sewing patterns
40” x 87”
Naked Lilith, standing with clenched fists and staring at the viewer is drawn with charcoal and ink on sewing patterns made of thin tissue paper.
Choosing to work with abrasive materials on a delicate base, portraying a primal rough female nude against a pattern that represents refined and “proper” feminine behavior, highlights Lilith’s defiance a
LILITH WITH BIRD
oil pastels on upholstery fabric
40” x 74”
This piece examines the tension between feminine sensuality and traditional “proper” feminine behavior, between independence and obligation, assertiveness and softness. Against the background of a flowery upholstery fabric that represents “proper taste”, a female figure stares at the viewer as she stretches to hunt a bird.
ink and oil pastel on parchment paper
40” x 87”
Using charcoal and oil pastels on delicate paper requires careful attention. The lines following the figure suggest potential for movement and swinging for this upside-down silhouette figure that looks more like a creature or an animal such as a bat, or a sacrificial lamb.
staples and colored pencils on sewing patterns
16” x 45”
Based on the face of Madonna in Michelangelo’s Pieta and on the Shroud of Turin, this portrait records a moment of enormous pain. It is depicted by stapling a thin piece of skin-like paper, simultaneously creating the image and destroying it.