What does it mean to be an artist?-the artist statement

I have been struggling the last few years to first of all be able to confidently call myself an artist, and then to define what exactly that means.  It is something that many creative people go through.  I have been successful and able to feel comfortable calling myself an artist.  Partly because it is what I am passionite about and also because I have had some degree of success. 

Being successful commercially can be tricky.  I spent a lot of time this year making jewelry this year that was pretty, fashionable and relevent.  But I have to say it was not an artistic experience.  I mean it did not satisfy my need to create from the heart or to express myself.  I find that when I make a piece of Judaica, for example a mezuzah, I am much more engaged in the process.  I am happier with the results, and people are much more affected by my work.  So I have desided to concentrate on working on art pieces and judaica ritual objects.

I have just completed writing my artist statement, which I am sure, will be revised as time passes.  Special thanks to my dear friend Andew Raftery, who encouraged me and helped me through this process. Let me know what you think:

Artist Statement


Judaica is the vehicle that brings together my creative energies and my personal values. Tapping into the history and traditions of Judaism gives my work tremendous significance. Artistic relevance emerges from the link between my creative vision and my understanding these traditions. I respect the laws of the Jewish faith and create art which can be used as ritual object or symbol of faith.


My design process begins with sketching, working out major design decisions and dilemmas with pen and paper. The medium of silver clay informs the next steps. Silver metal clay starts off soft and pliable. Its unique qualities allow manipulation throughout the construction of the piece. The consistency of the clay changes as it dries which gives me the opportunities for building, texturizing, shaping and carving. After the clay is fired and becomes solid silver, the surface can be worked by chasings, polishing and patinas.


I am influenced by art, architecture, and even pop culture. My collection of Mezuzahs based on classic architecture are not rigid copies. Through the use of custom textures I transform these building into fluid objects of art, free zones for the viewer's imagination. Many of the original textures I create are inspired by calligraphy, illuminations, art nouveau and Moorish and Islamic art, and the arts and crafts movement of the late 1800s. I make a piece that is relevant in our time but also brings these ancients values to the present.

Inspiration and possibilities

Labor day weekend was a wonderful time for me.  I was fortunate to spend some quality time with an old friend, Andrew Raftery, whom I went to college with at Boston University.  Andrew and I were both painting majors and although I went on the fashion design, Andrew perfected his skills and went on to study at Yale.  He is now a master engraver and Professor at Rhode Island School of Design.  There are many things that I love about Andrew, but what I admire about him is that he is always true to his heart and passions. Watch Andrew create a master engraving of a 16th Century drawing.

Having time with an artist and print maker like Andrew gave me the opportunity to discuss process like I haven't done in a long while.  It was so inspiring to me.  He really encouraged me to explore making more of my own texture plates.  I have been carving textures in the past, but the possibilities of making textures with photo polymer was intriguing to me.  And Andrew explained to me the process and connected me with some high quality suppliers. 

But for my first attempt I decided to go low tech.  There is no point in investing in a technique if it will not work for me.  I purchased a basic photo polymer kit from Cool tools, which allowed me to expose the polymer with an ordinary 60 watt bulb.  The hardest thing for me was creating the artwork.  I wanted to create a Moorish tile pattern that utilized a six pointed or Jewish star.  I could find the pattern I wanted anywhere so I had to draw it out and then copy a repeat the pattern (if I only knew how the use my graphic software).  I then scanned the pattern into the computer, made it into a negative and printed it (twice) on a transparency.  The process of making the plate this way was fairly easy, although I did tear the plate once while scrubbing out the polymer.  I think my second attempt will me even better.

With the texture finished, I moved on to creating a mezuzuah in silver metal clay.  Unfortunately the polymer packs that come in the kit were not quite long enough for the whole mezuzah.  I do think the texture came out pretty nice, although I would love to try this pattern on a plate that was not so deep.

Now that I have begun to construct the mezuzah I realize I have absolutely no plan of design.  The texture is very nice,  but different then I expected so I have to think about this for a while and decide what to do next. 

I made a funky shin for the piece which I think may be a nice contrast to the geometric pattern, but I'm not sure yet. 

I will post the finished mezuzah for the September mezuzah project.

Andrew Raftery

If you are in New York city this month, take time to visit the Mary Ryan Gallery at 527 West 26th street. There is a show featuring the works of master engraver and artist Andrew Raftery. Now only are Andrew's engraving technical perfection, but this unique perspective on modern life is both fascinating and refreshingly humorous. Andrew takes a traditional media and makes it relevant today, they are true originals.
I am glad to know Andrew personally, and count him as a good friend. He continually inspires me whenever we speak. Thanks Andrew, I wish I could be there in person!