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"The Reclining Woman" 
Bronze 1/6 cast. About 6 ft. long
The Reclining Woman

My regard for the human figure, my traditional and conventional education characterize the figurative features of nearly a11 my sculpture work, a manifestation which is almost non existent in my paintings.
I have covered a great deal of ground throughout the different periods, in search for an expression in my work, one that would get both my character and the creative attitude to my life.

Those of course are rather sophisticated definitions for a creative artist and I do not hesitate to quote Klei who said that the artist but collects and passes on what rises from the depths.

The Reclining Woman, a classical manifestation of the eternal topic of every artist trough the centuries is an example of the characteristics of my works.

The philosophical meaning of an Open Head is visually translated in most of my sculptures and gives a personal Signature to the Uniqueness of my works.

Gedalia Ben Zvi Ein Hod March 2003

 
 

"Peace Monument" 
Bronze About 9 ft. high

"Unity"
Bronze 1/6 cast. About 4 ft. high

 
 

"The womanhood" 
Bronze 1/6 cast. 100 cm. high

"The Small family " 
Bronze 1/6 cast. 49 inches high

"Mother and Child" 
African wood. 100 cm. high

 
 
"Mother and Child" 
Bronze 1/6 cast. About 150 cm. high
 


"Fusion" 
Bronze 1/6 cast. 41" (105 cm.) high
Acrylene black base 13.5" (34 cm.) diameter
Classic Brown patina
Cast in traditional technique in Israel.

The Fusion
This unique sculpture was conceived with a special Idea about the
positive behavior of the mankind.
Usual our society is composed by groups based on foundation of the
family no matter the size or the number, but always closely knit
forming tribes then nations and finally the mankind.
When I started to work on the Fusion I had in my mind the unique
ability of the Human species to melt from individuals into groups and
from small families to Clans living and working together.
The indication of this theory [in a allegoric way] is underlined by the
group of four people embracing the fifth one into their circle, thus
creating the eternal Fusion.
I was asked many times about the meaning of the Split head in my
sculptures and my explanation based on creative thinking is quiet
simple.
The Power to have an Open Head to new Ideas and understandings
is shown in a clear Statement but also indicates the relation of each
figure to another by the direction of the Head.
It is known that the artist doesn't just copy the reality of the nature
but ads his philosophical Statement to his works.
Most of my sculptures are cast from Bronze, the material of almost
unlimited duration as we see from the excavations from the Bronze
Time still intact as they were done in the time of Antiquity.
Ben Zvi Gedalia ...........Ein Hod ..............July 2005

________________________________________
With writers it is usually to look for the autobiographical element in their work, though in the majority of the cases there is none. Figures in literature and in drama are mostly not identical with their creator and, sometimes, even constitute opposed poles to the latter's character. This is not so in the case of sculpture. My regard for the human figure, my traditional and conventional education - characterize the figurative features of nearly all my sculpture work, a manifestation which is almost non-existent in my painting. The human figure - even if merely hinted at - leaves its mark upon my sculpture, and especially upon my later work. I have covered a great deal of ground throughout the different periods, in search for an expression in my work; one that would fit both my character and the creative attitude to my life. The end of World War 11 finds me detached from reality, hurt and lacking any guidance. The natural things I was striving for were stability, restoration of the family which was wrecked in the war, and national ideals. These also find their expression in my sculpture, though the last aspect is merely implied. The figurative groups which I frequently call upon for situations and various "group ages", mirror the everyday life of human society and symbolize unpretentiously a specific situation for a particular scene. Where, for instance, the statue represents rest, this must be made clear to the viewer not only through the factual posture which is distinct to his eye, but also through the emotional tension among the figures set out in the group, and though the general atmosphere which inspired the statue. It is my wish to put across to the viewer the emotions I experience at the time of creating; this letting him take part in the creation even if the touch of his hand never shared in its performance. The only thing that is conscious and controlled with me at the time I set about sculpturing, is my strong will to express myself in the form of sculpture; and this is not especially connected with any particular subject. The form of the material which I choose and the unconscious state of my mind are the main components which characterize the whole creation. I cannot remember setting myself to sculpturing with a clear feeling of the final result. Only in the course of the work the idea gradually takes shape and even then without any finality. The tension and the expectation are my lot during every stage of the creation, and they do not cease even with its completion. Sometimes, when looking at some work of mine which I have not seen for a time, it seems to me as if I were re-creating it, and more than once I have been amazed at my excitement over the work of my own hands. These, of course, are rather sophisticated definitions for a creative artist and I do not hesitate to quote Klei who said that the artist "but collects and passes on what rises from the depths". It is true that deep inside me there originate and crystallize ideas, partly hazy, which will realize at some unexpected time and in an unexpected shape, but always out of the unconscious depth, in spite of my well-ordered way of life and a reasonable discipline of work.

Gedalia Ben-Zvi

 

 

 

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