Terrain 
Moments 
Antecedents 
Spiral Flowers 
Fingerprints of the Shekhina 
Eric's Rainbow 
Spiral Butterflies 
Burt's Bugs 
The Sea 
Shahar 
Garin Ein Dor 
Painting as Personal as Poetry... 
Pets 
Hebrew Letter Expansion 
Yonat as an Angel 
Machine Operators Hands on Drums 
Birds 
The Tavor
Gev 
My Bike 
It has always been my dream to paint a huge breathtaking sunset. Panorama is important so that you loose yourself in it's magnitude. Note the volume and texture of the mountains; the rugged topography. In hope this is only the first of my sunset paintings. The poem in the painting compares cloud coverings to the carpenter's roof beams, Here I marvel at the shelter of clouds in the face of adversity.
Beyond the horizon divine rooftops beam, atone at the seashore refine the supreme.
This painting is based on a photograph that my daughter, Shahar took of a monk on the Ganges River at daybreak. The words in the painting reflect my longing for her on the far side of the world for the first time:
Suddenly you're gone, stillness. The house rests, hushed. Cat curls in close on the bed. I email you routinely following your odyssey faithfully up the Himalayas down along the Ganges basin.Then I ask myself, What must she be doing this very moment? Here is how I answered:
You're celebrating Chanukah now with friends and candles bought from an old woman by the water. Thus I have balanced my inner feelings with Shahar's experiences. 2009 Acrylic on wood 79cm x 61cm
In 2004 my daughter Yonat danced at Kibbutz Ein Dor's celebration of the Jewish New Year, Rosh Hashana (5765). I was there, the proud mother, photographing her. I became fascinated with her motion and the feeling she invests in her dance. Placing her in the clouds seemed to fit the devotion in her face to her movement. I balanced this image in the painting with words from my send-off letter to her as she left for a year of volunteering on an organic farm before her National Service. The message reflects a mother's longing for her child, my longing
You turn and you go on your way my Botticelli curls tossing down your back barefoot your long billowing skirt swishing from your hips. I hear myself ask for another hug putting off the inevitable. Your determined arms tightly around me, The scent of cinnamon nestled behind your ear. I settle back take comfort in the routine day in day out, busy hands, busy mind. Lodged somewhere in the twlight I am nuzzling my beautiful infant again humming to her soft and low." "Yonat in the Clouds" 2009 Acrylic on wood board 122cm x 79cm
When I began a painting from a beautiful photo of an ancient olive tree I noticed the striking textures of the tree trunk. The tree is graceful, strong yet retaining an elegance and poise. Then I became fascinated with the centuries this tree has existed. The history it has lived through. Still it is alive, growing and bearing fruit. In awe and admiration I layered textures in the tree trunk and a branch with green leaves. My poem in the painting is my ode to the olive tree:
Olive tree steadfast and true our forgiven sorcery old and new, Sew a thread and pass it through." "Olive Tree" 2014 oil paint and sand on canvas 100cm x 70cm
This work holds profound meaning for me. This painting is about hope. It is dedicated to the few of us remaining, believers in peace. It is based on a photo of wheat blowing in the wind that my daughter, Yonat snapped. The painting is oil on canvas 120 cm x 160 cm. Here's the poem in the painting:
On us the dawn of trust begins. Then at least we'll reconcile, when peace will smile. And peace WILL smile. The way light drenches our foes, but quenches a single rose." "Peace" 2016 oil paint on canvas 140cm x 120cm
This work deals with the dichotomy of our existence. We live in a breath taking landscape. Yet war is our stark reality. Cypress trees are planted in the entrance way of our cemeteries. It is an ancient belief that the pointed tips of cypress trees help the souls of the dead reach heaven.
Tip of each cypress tree kisses heaven, an armistice again.
This painting depicts clouds just before they burst. Rain is a blessed event where I live. It heralds winter and a promise for a good yield. It is based on a poem I wrote in 2005 after the Israeli government pulled the settlers out of the Gaza Strip. But since then I've realized the poem is metaphorical for every 'first cloud burst of autumn' that cleanses each scorcing Israeli summer. This poem was published in IAWE arc-24 literary journal
First cloud burst of autumn cleansing the sidewalks forgiving us our summer rage.
In the summer of 1989 I finished a mural on the eastern exterior wall of the converted chicken coup where I have my studio. My brother Burt snapped the photo on which this painting is based. Here I am painting, enjoying valuable time creating. The poem characterizes my relationship with my art through personification of my brush:
I slip away before dawn, I slip away for a few precious moments, I slip away in silence before anyone stirs except the cat, I slip away to immerse myself with you my darling brush. "I Slip Away" 2009 Acrylic on wood 79cm x 61cm
I am painting. This is based on a moment in time 1989 with my daughters; Shahar then five years old and Yonat then two years old. They are waiting for me to finish for that day and play with them. Shahar is already impatient. I juxtaposed that image by focusing the poem in the painting on my daughters' harmonious play together, their secret language:
"Back in the grass tinkling with laughter my daughters hand in hand circle round 'n round." "Back in the Grass" 2009 Acrylic and sand on wood board 79cm x 61cm
It was an exuberant celebration, a coming together, a declaration of love. Set in the breathtaking Galilee, a shepherd is herding sheep down in the valley behind the Chuppah. The bride is in a recycled wedding dress. Yes I wore that dress at my wedding more than 36 years ago. It was the beginning of my happy marriage to my husband, Michael. My eyes welled up with tears when Yonat, my daughter asked to wear my wedding dress. The poem tells the story of finding this unusual dress
"End of a long day bridal salon hopping satin blends and Earl Grey.
In 1989 my parents sold the house on Oneida Street where I grew up. My family live there for over 35 years! My father began recording that beloved house from every possible angle. Here is my painting looking through our big picture window from the living room onto the street. I grew up gazing out this window. My emphasis is on the beautiful wood work around the individual panes of glass. My poem in the painting is about coming home after a long trip:
"It was time to come back, in the still moment before dawn, in the cool morning air heavy with sweet basil.
This painting based on a photo my cousin sent of me age 9 on Bouncey, their mule. I wrote back that I don't remember being on the mule. But I do remember being under the mule on the ground after he threw me. I don't look too happy. Do I? The mule is purposely larger than he was in reality. He seemed huge then. Notice the flatness of the mule again the rich texture of the long grass.
How pungent was his leather saddle. How pathetic my plummet, in dung and stench all together raddled. a memory of that ass and his diddle daddle." "Me on Bouncey" 2012 oil paint and plaster on canvas 98cm x 80cm
While sorting through old black and white snapshots in the basement of my mother's condo in Southfield, Michigan to my surprize I came across an old photo from March 1961 that I never knew existed. It was a small black and white snapshot of my Grandfather, George Samuel Fleishman and I at my brother, Mark's Bar Mitzvah. I decided to base a painting on this image. Here I am only 8 years old; this was taken less than a year before my grandfather dies of a massive heart attact at the age of 63. This painting and poem are dedicated to the 11 grandchildren George left behind who never got a chance to really know him. The words in the poem deal with a memory from Georges last visit:
I remember your bifocals, Grandpa I remember my delight in knowing you Grandpa I remember giving up my bed to you. I remember examining your dentures on the night stand. I remember how Burt and I cried when you died, Grandpa. "George and Me" 2009 Acrylic on woodboard 67cm x 47cm
Initially this is a very simple painting. It is based on a poem about my mother and I visiting my Dad's grave. The first line of the poem is embossed on the gravestone which makes up most of the painting. I am refering here to the Jewish tradition of placing stones on a grave marking the visit there. As you see in the painting the grave has five stones on it, each representing a member of my Dad's family.
"Five stones smooth on your grave, one for each of us." "Five stones" 2009 Acrylic and sand on wood 122cm x 60cm variable dimensions
Before my Dad was drafted in WWII he and my Mom met on a double date. He was smittened at first site. He had then and there decided to himself that my Mom was the girl for him. In 1943 he was drafted into the American army in the Pacific Theater. He was on the first convey over ther Burma Road. Sid, my father, wrote to Elsie, my mother all during the war sending her beautiful gifts from Asia. Sid was not the only boy to whom Elsie wrote however. In the meantime Elsie finish her BFA degree at U of K and as part of the war effort began working in a munitions plant in Dayton, Ohio. Sid and Elsie became very close through their correspondence. When Sid returned from the war in January of 1946 he took off his uniform and put on a spiffy new suit. He went to Dayton to camp out on Elsie's doorstep to wow her until she agreed to marry him. A photo of Sid on Elsie's doorstep is the foundation of this painting.
"Dad camped out on her doorstep waiting for the shift whistle shrill grasping her favorite mums and Whitman's assorted as she rounds the corner giggling with girlfriends in saddleshoes." "Dad 1946" 2009 Acrylic and sand on wood 78cm x 77cm
Here is my painting based on a snap shot taken the year my grandmother, Bella Kutcher Kottler and my father (her son), Sidney began their long, harsh journey to American. The year was 1926 in Berdychiv, Ukraine. They were malnourished. It is the earliest known photo of them. I tried to paint their hunger and hardship in their faces. My poem in the paint is about my spiritual connection to them:
"I know a prerequisite to inner space. A wry hush evokes the dawns lure. Owning the explicit secures our embrace." "Sid and Bella" 2014 oil paint and plaster on canvas 100cm x 70cm
I lost my mother in February 2013. She had a long and full life. There is a photo of her at the age of 23 posing for a photographer, a suitor. All my life I have wanted to paint that photo! What a better time to start with a huge canvas. Then I lost myself in her beautiful face through painting. How lucky I am to extend my connection with my mother via my art! My poem in the painting reads:
"O the bliss to revisit your face, my brush strokes the contours. Miss it I admit lost in your grace." "Elsie at 23" 2014 oil paint and plaster on canvas 150cm x 110cm
This painting is base on a photo of my grandmother, Mollie Bryandel Gubin, dancing with two friends on the first of May 1919. They are dancing around a May Pole celebrating the rite of spring on the campus of Washington University MO. They are like goddesses, like the 'Three Graces' in Greek mythology.
"Ivory arms, genteel eyes, laughing in the moonrise. Callow smiles, misty gowns, tracing shadows off the ground. Far flung fingers, fragrant hair, appearing without a care. Delicate necks, pointed toes, testing how the wind blows." "Three Graces" 2010 Acrylic on canvas 104cm x 94cm
This painting is based on a photograph of my great grandfather, Moses Max Gubin, around 1900 in front of his dry good store in Paul's Valley, Oklahoma, USA. That's him second from the right. He's standing with his siblings and landsman who also worked at the store. Then Oklahoma was still an Indian Territory. I purposely painted the horse larger than it appears in the orginal photo to emphasis the feeling of the wild west. I remember my aunt looking at the photograph and saying, "People came from miles around just to see what a jew looked like."
"The Paul's Valley Store" 2012 oil paint on woodboard 94cm x 50cm
The phenomenon of the spiral occurs repeatedly throughout nature and in many cultures. In this painting I examine the overpowering connotations of the spiral. Here is the helix in a flower. Its power leaves me spellbound.
"To spiral down in time for audience with my ancestors. To find the lyrical in experience myth and discourse. To inquire in stillness the truth at its source. To swirl up to clear-sightedness soothing the protesters." "Spiral Flower II" 2011 Oil paint on wood board 120cm x 80cm
I am intrigued by the reoccurring spirals in nature like in this flower based on a photograph. As I began to paint this flower I discovered the depth and intensity within the layers. I added sand to the background to emphasize environment. A stanza from a poem I wrote seemed to partner the image well:
"I live for the blank spaces between quiescence 'n dissonance, between chaste morning skies and sanctums time worn, between careen winter wheat and ripe crowded summer nights." "Spiral flower" 2009 Acrylic and sand on wood 66cm x 47cm
Flipping through a magazine one day I came across a photo of a child peeking through a curtain. I thought to myself that I have been that child many times for many reasons peeking at the world from a safe place. I used this concept for the painting providing the foundation for the next stanza of my "Blank Spaces " poem:
"I dawdle in the blank spaces between open toes and steel toes, between round shoulders and worn shoulders, between secluded closets and windows flung open wide, between rumpled quilts and crisp clean sheets." "Peeking Child" 2009 Acrylic and sand on wood board 80cm x 60cm
For years I have been in pursuit of depicting that which cannot be seen. The female aspect of God or God's presence here on earth a Talmudic term; the Shekhina (Sh'cheena) has captured my imagination. I've asked myself, "What would her fingerprints look like?" I began with basic shapes circles, squares and triangles, building layers. They contain the 72 true names of God within the fingerprints themselves. They must display the same attributes of real fingerprints but with a deepness that is more than human. I also played with in luminous colors silvers, gold and bronzes as you will notice in all my work. Five "Fingerprints of the Shekhina" are in this series representing the hand of the Shekhina. This relates to the universal symbol of the 'hamsa' in Arabic or 'hamesh' in Hebrew or five an amulet that predates both Judaism and Islam. It refers to an ancient Middle Eastern goddess whose hand (or vulva, in other images) wards off the evil eye.
"Fingerprint of the Shekhina I" 2009 Acrylic on wood board 80cm x 60cm variable dimensions
For years I have been in pursuit of depicting that which cannot be seen. The female aspect of God or God's presence here on earth a Talmudic term; the Shekhina (Sh'cheena) has captured my imagination. I've asked myself, "What would her fingerprints look like?" I began with basic shapes circles, squares and triangles, building layers. They contain the 72 true names of God within the fingerprints themselves. They must display the same attributes of real fingerprints but with a deepness that is more than human. I also played with in luminous colors silvers, gold and bronzes as you will notice in all my work. Five "Fingerprints of the Shekhina" are in this series representing the hand of the Shekhina. This relates to the universal symbol of the 'hamsa' in Arabic or 'hamesh' in Hebrew or five an amulet that predates both Judaism and Islam. It refers to an ancient Middle Eastern goddess whose hand (or vulva, in other images) wards off the evil eye.
"Fingerprint of the Shekhina II" 2009 Acrylic on wood board 80cm x 60cm variable dimensions
For years I have been in pursuit of depicting that which cannot be seen. The female aspect of God or God's presence here on earth a Talmudic term; the Shekhina (Sh'cheena) has captured my imagination. I've asked myself, "What would her fingerprints look like?" I began with basic shapes circles, squares and triangles, building layers. They contain the 72 true names of God within the fingerprints themselves. They must display the same attributes of real fingerprints but with a deepness that is more than human. I also played with in luminous colors silvers, gold and bronzes as you will notice in all my work. Five "Fingerprints of the Shekhina" are in this series representing the hand of the Shekhina. This relates to the universal symbol of the 'hamsa' in Arabic or 'hamesh' in Hebrew or five an amulet that predates both Judaism and Islam. It refers to an ancient Middle Eastern goddess whose hand (or vulva, in other images) wards off the evil eye.
"Fingerprints of the Shekhina " 2009 Acrylic on wood board variable dimensions
For years I have been in pursuit of depicting that which cannot be seen. The female aspect of God or God's presence here on earth a Talmudic term; the Shekhina (Sh'cheena) has captured my imagination. I've asked myself, "What would her fingerprints look like?" I began with basic shapes circles, squares and triangles, building layers. They contain the 72 true names of God within the fingerprints themselves. They must display the same attributes of real fingerprints but with a deepness that is more than human. I also played with in luminous colors silvers, gold and bronzes as you will notice in all my work. Five "Fingerprints of the Shekhina" are in this series representing the hand of the Shekhina. This relates to the universal symbol of the 'hamsa' in Arabic or 'hamesh' in Hebrew or five an amulet that predates both Judaism and Islam. It refers to an ancient Middle Eastern goddess whose hand (or vulva, in other images) wards off the evil eye.
"Fingerprint of the Shekhina III" 2009 Acrylic on wood board 80cm x 60cm variable dimensions
For years I have been in pursuit of depicting that which cannot be seen. The female aspect of God or God's presence here on earth a Talmudic term; the Shekhina (Sh'cheena) has captured my imagination. I've asked myself, "What would her fingerprints look like?" I began with basic shapes circles, squares and triangles, building layers. They contain the 72 true names of God within the fingerprints themselves. They must display the same attributes of real fingerprints but with a deepness that is more than human. I also played with in luminous colors silvers, gold and bronzes as you will notice in all my work. Five "Fingerprints of the Shekhina" are in this series representing the hand of the Shekhina. This relates to the universal symbol of the 'hamsa' in Arabic or 'hamesh' in Hebrew or five an amulet that predates both Judaism and Islam. It refers to an ancient Middle Eastern goddess whose hand (or vulva, in other images) wards off the evil eye.
"Fingerprint of the Shekhina IV" 2009 Acrylic on wood board 80cm x 60cm variable dimensions
For years I have been in pursuit of depicting that which cannot be seen. The female aspect of God or God's presence here on earth a Talmudic term; the Shekhina (Sh'cheena) has captured my imagination. I've asked myself, "What would her fingerprints look like?" I began with basic shapes circles, squares and triangles, building layers. They contain the 72 true names of God within the fingerprints themselves. They must display the same attributes of real fingerprints but with a deepness that is more than human. I also played with in luminous colors silvers, gold and bronzes as you will notice in all my work. Five "Fingerprints of the Shekhina" are in this series representing the hand of the Shekhina. This relates to the universal symbol of the 'hamsa' in Arabic or 'hamesh' in Hebrew or five an amulet that predates both Judaism and Islam. It refers to an ancient Middle Eastern goddess whose hand (or vulva, in other images) wards off the evil eye.
"Fingerprint of the Shekhina V" 2009 Acrylic on wood board 80cm x 60cm variable dimensions
The poem and subsequently the painting were inspire by our friend Eric Lee's comments about one of his most memorable moments on Kibbutz Ein Dor. It was towards the end of the Persian Gulf War we were given a respite from our sealed rooms. Everything seemed fresh and new that spring day. The painting is based on a photograph taken by Zigi Tavori of the red roofed houses on Kibbutz Ein Dor under a rainbow during that time. The dichotomy between the hardships of war and the ideal landscape fits:
"It was a prolonged deep breath, a sigh of relief from sirens and gas masks,
Since the completion of the "separation fence" there is relative quiet on both sides of the divide between our Palestinian neighbors and ourselves. There is not peace. There is quiet. Frankly the division and suspicion between our two peoples has grown deeper and wider. It's heartbreaking. This painting is dedicated to the hope that we will soon live in true peace and harmony with our neighbors. It is based on a photograph of the 'Great Wall of China'. A barrier also erected to keep out the barbarians.
"Let the wall climb. Let it rise. Let it cling to the sky.
This work begins with a photograph taken by Eliyahu Blau, a member of my kibbutz from the ruins of Beaufort Castle in Lebanon, a 12th century Crusader Fortress. The Beaufort provides one of the few cases where a Medieval castle proved of military value in modern warfare. Altogether too much blood has been shed in persuit of that strategic peak including a son of Kibbutz Ein Dor, Yaron Zamir in June 1982.
"For after the last bomb the last bullet the last ceasefire the final body count after exchanging prisoners after exchanging prisoners after the armistice after retracing the borders generation after generation. Who was in the right anyway?." "For After the Last Bomb" 2009 photograph and acrylic paint on woodboard 60cm x 48cm
I am a breast cancer survivor. This work is dedicated to the lost year of my life (2003) to that disease. Being sick suddenly leaves you in shock. You find yourself thrown from one doctor's opinion to another, from one biopsy to another, from one operating table to another. As part of my healing process I needed to present a blood stain. I also needed to claim my soul back. That no matter how much they carved I am me.
Slowly but surely pieces of me are vanishing.
I am enamored with butterflies, from their magical metamorphosis to the spirit of their flight. To me they are the embodiment of freedom. I began giving all butterflies spirals and luminous colors. So my "Spiral butterflies" as a result emerged like caterpillars from their cocoons.
"I embrace the blank spaces
I am enamored with butterflies, from their magical metamorphosis to the spirit of their flight. To me they are the embodiment of freedom. I began giving all butterflies spirals and luminous colors. So my "Spiral butterflies" as a result emerged like caterpillars from their cocoons.
"I embrace the blank spaces between solitary raindrops in May and Augusts’ fields of exhaustion,
I am enamored with butterflies, from their magical metamorphosis to the spirit of their flight. To me they are the embodiment of freedom. I began giving all butterflies spirals and luminous colors. So my "Spiral butterflies" as a result emerged like caterpillars from their cocoons.
"I embrace the blank spaces between solitary raindrops in May and Augusts’ fields of exhaustion,
I am enamored with butterflies, from their magical metamorphosis to the spirit of their flight. To me they are the embodiment of freedom. I began giving all butterflies spirals and luminous colors. So my "Spiral butterflies" as a result emerged like caterpillars from their cocoons.
"I embrace the blank spaces between solitary raindrops in May and Augusts’ fields of exhaustion,
I am enamored with butterflies, from their magical metamorphosis to the spirit of their flight. To me they are the embodiment of freedom. I began giving all butterflies spirals and luminous colors. So my "Spiral butterflies" as a result emerged like caterpillars from their cocoons.
"I embrace the blank spaces between solitary raindrops in May and Augusts’ fields of exhaustion,
I am enamored with butterflies, from their magical metamorphosis to the spirit of their flight. To me they are the embodiment of freedom. I began giving all butterflies spirals and luminous colors. So my "Spiral butterflies" as a result emerged like caterpillars from their cocoons.
"I embrace the blank spaces between solitary raindrops in May and Augusts’ fields of exhaustion,
I am enamored with butterflies, from their magical metamorphosis to the spirit of their flight. To me they are the embodiment of freedom. I began giving all butterflies spirals and luminous colors. So my "Spiral butterflies" as a result emerged like caterpillars from their cocoons.
I embrace the blank spaces between solitary raindrops in May and Augusts’ fields of exhaustion,
"Spiral Butterfly IV"
2009
Acrylic on wood board
50cm x 49cm
For a stunning print of this artwork please visit: Fine Art America 
I am enamored with butterflies, from their magical metamorphosis to the spirit of their flight. To me they are the embodiment of freedom. I began giving all butterflies spirals and luminous colors. So my "Spiral butterflies" as a result emerged like caterpillars from their cocoons.
I embrace the blank spaces between solitary raindrops in May and Augusts’ fields of exhaustion,
I am enamored with butterflies, from their magical metamorphosis to the spirit of their flight. To me they are the embodiment of freedom. I began giving all butterflies spirals and luminous colors. So my "Spiral butterflies" as a result emerged like caterpillars from their cocoons.
"I embrace the blank spaces between solitary raindrops in May and Augusts’ fields of exhaustion,
I am enamored with butterflies, from their magical metamorphosis to the spirit of their flight. To me they are the embodiment of freedom. I began giving all butterflies spirals and luminous colors. So my "Spiral butterflies" as a result emerged like caterpillars from their cocoons.
"I embrace the blank spaces between solitary raindrops in May and Augusts’ fields of exhaustion,
I am enamored with butterflies, from their magical metamorphosis to the spirit of their flight. To me they are the embodiment of freedom. I began giving all butterflies spirals and luminous colors. So my "Spiral butterflies" as a result emerged like caterpillars from their cocoons.
"I embrace the blank spaces between solitary raindrops in May and Augusts’ fields of exhaustion,
2011 oil paint on canvas 68 cm x 50 cm For a stunning print of this artwork please visit: Fine Art America
One day in the spring of 2011 my brother Burt Kotler, Professor of Ecology at Ben Gurion University and I were sitting in my studio on Kibbutz Ein Dor with all ten of my Spiral Butterflies spread out before us. We were discussing the butterflies. Then he stated: "You know Sally there are more species of beetles in the world than butterflies!" With that short statement he sent me off on my quest for my Spiral Beetles. In my brother's honor I call them 'Burt's Bugs'. I have noticed that each beetle contains all the secrets and beauty of nature.
"I linger in the blank spaces; between the pragmatic and the prismatic,
"Burt's Bugs Poem"
2012
oil paint and plaster on canvas 
2011
oil paint and pebbles on canvas
70 cm x 50 cm
For a stunning print of this artwork please visit: Fine Art America
One day in the spring of 2011 my brother Burt Kotler, Professor of Ecology at Ben Gurion University and I were sitting in my studio on Kibbutz Ein Dor with all ten of my Spiral Butterflies spread out before us. We were discussing the butterflies. Then he stated: "You know there are more species of beetles in the world than butterflies!" With that short statement he sent me off on my quest for my Spiral Beetles. In my brother's honor I call them 'Burt's Bugs'. I have noticed that each beetle contains all the secrets and beauty of nature.
"I linger in the blank spaces; between the pragmatic and the prismatic, "Burt's Bugs Poem"
2012
oil paint and plaster on canvas 
2015
oil paint and plaster on wood board
50 cm x 50 cm
For a stunning print of this artwork please visit: Fine Art America
One day in the spring of 2011 my brother Burt Kotler, Professor of Ecology at Ben Gurion University and I were sitting in my studio on Kibbutz Ein Dor with all ten of my Spiral Butterflies spread out before us. We were discussing the butterflies. Then he stated: "You know there are more species of beetles in the world than butterflies!" With that short statement he sent me off on my quest for my Spiral Beetles. In my brother's honor I call them 'Burt's Bugs'. I have noticed that each beetle contains all the secrets and beauty of nature.
"I linger in the blank spaces;
between the pragmatic and the prismatic,
between the tarnished picture frame and it's faded photograph,
between the stew brewing in the kitchen and the steam beading down the window pane,
between the cool silent dessert night and the snap of the June Bug." "Burt's Bugs Poem"
2012
oil paint and plaster on canvas
2011
oil on canvas
62cm x 42cm
For a stunning print of this artwork please visit: Fine Art America
One day in the spring of 2011 my brother Burt Kotler, Professor of Ecology at Ben Gurion University and I were sitting in my studio on Kibbutz Ein Dor with all ten of my Spiral Butterflies spread out before us. We were discussing the butterflies. Then he stated: "You know there are more species of beetles in the world than butterflies!" With that short statement he sent me off on my quest for my Spiral Beetles. In my brother's honor I call them 'Burt's Bugs'. I have noticed that each beetle contains all the secrets and beauty of nature.
"I linger in the blank spaces; between the pragmatic and the prismatic, "Burt's Bugs Poem"
2012
oil paint and plaster on canvas
One day in the spring of 2011 my brother Burt Kotler, Professor of Ecology at Ben Gurion University and I were sitting in my studio on Kibbutz Ein Dor with all ten of my Spiral Butterflies spread out before us. We were discussing the butterflies. Then he stated: "You know there are more species of beetles in the world than butterflies!" With that short statement he sent me off on my quest for my Spiral Beetles. In my brother's honor I call them 'Burt's Bugs'. I have noticed that each beetle contains all the secrets and beauty of nature.
"I linger in the blank spaces; between the pragmatic and the prismatic,2011
oil on canvas
62cm x 42cm
For a stunning print of this artwork please visit: Fine Art America
"Burt's Bugs Poem"
2012
oil and plaster on canvas 
One day in the spring of 2011 my brother Burt Kotler, Professor of Ecology at Ben Gurion University and I were sitting in my studio on Kibbutz Ein Dor with all ten of my Spiral Butterflies spread out before us. We were discussing the butterflies. Then he stated: "You know there are more species of beetles in the world than butterflies!" With that short statement he sent me off on my quest for my Spiral Beetles. In my brother's honor I call them 'Burt's Bugs'. I have noticed that each beetle contains all the secrets and beauty of nature.
"I linger in the blank spaces; between the pragmatic and the prismatic,2011
oil on canvas
62cm x 42cm
For a stunning print of this artwork please visit: Fine Art America
"Burt's Bugs Poem"
2012
oil paint and plaster on canvas 
One day in the spring of 2011 my brother Burt Kotler, Professor of Ecology at Ben Gurion University and I were sitting in my studio on Kibbutz Ein Dor with all ten of my Spiral Butterflies spread out before us. We were discussing the butterflies. Then he stated: "You know there are more species of beetles in the world than butterflies!" With that short statement he sent me off on my quest for my Spiral Beetles. In my brother's honor I call them 'Burt's Bugs'. I have noticed that each beetle contains all the secrets and beauty of nature.
"I linger in the blank spaces; between the pragmatic and the prismatic,2011 oil on canvas 62cm x 42cm For a stunning print of this artwork please visit: Fine Art America
"Burt's Bugs Poem"
2012
oil paint and plaster on canvas 
2017 multi media on canvas 55 cm x 80 cm
One day in the spring of 2011 my brother Burt Kotler, Professor of Ecology at Ben Gurion University and I were sitting in my studio on Kibbutz Ein Dor with all ten of my Spiral Butterflies spread out before us. We were discussing the butterflies. Then he stated: "You know there are more species of beetles in the world than butterflies!" With that short statement he sent me off on my quest for my Spiral Beetles. In my brother's honor I call them 'Burt's Bugs'. I have noticed that each beetle contains all the secrets and beauty of nature.
"I linger in the blank spaces;
between the pragmatic and the prismatic,
between the tarnished picture frame and it's faded photograph,
between the stew brewing in the kitchen and the steam beading down the window pane,
between the cool silent dessert night and the snap of the June Bug." "Burt's Bugs Poem"
2012
oil paint and plaster on canvas
2017
multi media on canvas
75 cm x 60 cm
One day in the spring of 2011 my brother Burt Kotler, Professor of Ecology at Ben Gurion University and I were sitting in my studio on Kibbutz Ein Dor with all ten of my Spiral Butterflies spread out before us. We were discussing the butterflies. Then he stated: "You know there are more species of beetles in the world than butterflies!" With that short statement he sent me off on my quest for my Spiral Beetles. In my brother's honor I call them 'Burt's Bugs'. I have noticed that each beetle contains all the secrets and beauty of nature.
"I linger in the blank spaces;
between the pragmatic and the prismatic,
between the tarnished picture frame and it's faded photograph,
between the stew brewing in the kitchen and the steam beading down the window pane,
between the cool silent dessert night and the snap of the June Bug." "Burt's Bugs Poem"
2012
oil paint and plaster on canvas
2019
multi media on canvas
70 cm x 50 cm
On loan from the artist
One day in the spring of 2011 my brother Burt Kotler, Professor of Ecology at Ben Gurion University and I were sitting in my studio on Kibbutz Ein Dor with all ten of my Spiral Butterflies spread out before us. We were discussing the butterflies. Then he stated: "You know there are more species of beetles in the world than butterflies!" With that short statement he sent me off on my quest for my Spiral Beetles. In my brother's honor I call them 'Burt's Bugs'. I have noticed that each beetle contains all the secrets and beauty of nature.
"I linger in the blank spaces;
between the pragmatic and the prismatic,
between the tarnished picture frame and it's faded photograph,
between the stew brewing in the kitchen and the steam beading down the window pane,
between the cool silent dessert night and the snap of the June Bug."
"Burt's Bugs Poem"
2012
oil paint and plaster on canvas
2019
multi media on canvas
55 cm x 70cm
On loan from the artist
One day in the spring of 2011 my brother Burt Kotler, Professor of Ecology at Ben Gurion University and I were sitting in my studio on Kibbutz Ein Dor with all ten of my Spiral Butterflies spread out before us. We were discussing the butterflies. Then he stated: "You know there are more species of beetles in the world than butterflies!" With that short statement he sent me off on my quest for my Spiral Beetles. In my brother's honor I call them 'Burt's Bugs'. I have noticed that each beetle contains all the secrets and beauty of nature.
"I linger in the blank spaces;
between the pragmatic and the prismatic,
between the tarnished picture frame and it's faded photograph,
between the stew brewing in the kitchen and the steam beading down the window pane,
between the cool silent dessert night and the snap of the June Bug."
"Burt's Bugs Poem"
2012
oil paint and plaster on canvas
This work, "Seafoam" and the "Tidal Wave" belong together, a Diptych. They express our vulnerablity as human beings. We are so sensitive to our environment inspite of our attempts to insolate ourselves.
"We are all fragile vessels packed in bubble wrap individually stowed in chests down below ships cargo. We are tossed and tumbled pitched and plunged to and fro to and fro. Is it any wonder that we break so easily?" "Seafoam" 2010 Acrylic, plaster and sand on wood board 77cm x 77cm
This work, the "Tidal Wave" and "Seafoam" belong together, a Diptych. They express our vulnerablity as human beings. We are so sensitive to our environment inspite of our attempts to insolate ourselves.
"We are all fragile vessels packed in bubble wrap individually stowed in chests down below ships cargo.
A portrait of my daughter Shahar at the age of 22. It is based on a photograph of her hiking on the Israeli National Trail. I tried to emphasis here her natural beauty and strength. It is as if she knows a little secret. Here is my message to her:
"The truth is, the truth is we have known each other for eons and eons. In one way or another we serve each other, influence each other, learn from each other. In one way or another. We are together." "Shahar at 22" 2010 Acrylic, on woodboard 50cm x 60cm
A self portrait, I asked my husband Michael for a photograph he would like to see me paint. He picked a snapshot of me the year we met. I was 22 then. The world was my oyster. I pair this portrait with the one of my daughter Shahar hiking also at the age of 22. These words encompass my second comment to her a universal message of love:
"Our connection transcends a mother to her daughter, a daughter to her sister, a sister to her brother.
A portrait and words dedicated to "Garin Ein Dor", it has been 30 years since we came here to settle on this kibbutz. We found it easier said than done. Lost in the album of photographs and momentos from that period was a black and white snapshot of the five of us who stayed with Mt. Tavor hazy in the background:
"There were just five of us by Tu Bishvat winter’81. There were five of us out of ten who came that scorching August. There were five of us who remained after being examined and scrutinized by the good folks in our community. There were five of us who endured in warm stench of kerosene heaters. There were five of us who stayed each with the profound knowledge deep in her heart That I am home at last, home at last. In the shadow of the Tavor I am home." "Garin Ein Dor" 2010 Acrylic and sand on woodboard 95cm x 73cm
Longing for a visit from my sister, I paint from one of the only photographs of my sister and I together. I continue to imagine what it would be like when she does drop in:
"If ever you should come here you’d park your rental ‘round back.
Here is a self portrait of me as a student at the College of Creative Studies in Detroit, Michigan. It is part of a triptych of three self portraits of different stages of my life. All consecrated with the hand sign of the Priestly Blessing or Birkat Kohanim in Hebrew on my forehead. The Priestly Blessing is found in the Bible Numbers 6:23-27. For me it signifies how blessed I am, how blessed we all are to be human beings here on earth. The painting is framed with the words: "Painting as Personal as Poetry as Peace as Political as Portrait as Prayer". These words give greater insight into this particular self portrait as well as describing my approach to the creative process.
"Painting as Personal as Poetry as Peace as Political as Portrait as Prayer I" 2009 Acrylic on wood board 110cm x 80cm
Here is a self portrait of me as a baby in Detroit, Michigan. It is part of a triptych of three self portraits of different stages of my life. All consecrated with the hand sign of the Priestly Blessing or Birkat Kohanim in Hebrew on my forehead. The Priestly Blessing is found in the Bible Numbers 6:23-27. For me it signifies how blessed I am, how blessed we all are to be human beings here on earth. The painting is framed with the words: "Painting as Personal as Poetry as Peace as Political as Portrait as Prayer". These words give greater insight into this particular self portrait as well as describing my approach to the creative process.
"Painting as Personal as Poetry as Peace as Political as Portrait as Prayer II" 2011 Acrylic on canvas 78cm x 64cm
Here is a self portrait of me as a baby in Detroit, Michigan. It is part of a triptych of three self portraits of different stages of my life. All consecrated with the hand sign of the Priestly Blessing or Birkat Kohanim in Hebrew on my forehead. The Priestly Blessing is found in the Bible Numbers 6:23-27. For me it signifies how blessed I am, how blessed we all are to be human beings here on earth. The painting is framed with the words: "Painting as Personal as Poetry as Peace as Political as Portrait as Prayer". These words give greater insight into this particular self portrait as well as describing my approach to the creative process.
"Painting as Personal as Poetry as Peace as Political as Portrait as Prayer II" 2011 Acrylic on canvas 78cm x 64cm
One morning I found my cat curled up into a perfect round ball. I could not resist painting her like that trying to capture to feeling of the morning. I wrote in words placed around her on the painting:
" When the late morning sun peers through the screen door our marble cat stretches and rolls in it's warm glow."The background of the painting is gold to enhanced the glowing feeling. To me our curled up cat represented a lovely moment in time. The world at peace.
2010 Acrylic on wood 91cm x 56cm variable dimensions
Here is a portrait of our incredibly loving and sometimes annoying black Labrador dog, Beguira.
"None yearn like our energized dog charmed and prancing as I come in the door.
Here is a portrait of the Karkom family's loving yet vandalizing dog, Chuppy.
"None yearn like our energized dog charmed and prancing as I come in the door.
Our sweet cat "Night" was with us for 19 years. She was our companion, our confidant, our guardian. She would leave dead mice and birds on the porch to show her appreciation. She was married to our house. It was her domain, her sanctuary.
Almond eyes yellow ochre sun skies a mellow invoker,
Panda belongs to David.
"Almond eyes yellow ochre sun skies a mellow invoker,
Mitzah belongs to Yonat and Eyal. Here is her regal pose.
"Almond eyes yellow ochre sun skies a mellow invoker,
Jinx belongs to Hope and Daniel. Her eyes are alluring.
"Almond eyes yellow ochre sun skies a mellow invoker,
Here is a portrait of the dog ‘Rusty’. I created for his owner, Jennifer Selig, with tender loving care.
"None yearn like our energized dog charmed and prancing as I come in the door.
In Wikipedia the Hebrew word "chai" is defined as:
-made up of two letters of the Hebrew alphabet "Chet" and "Yod," forming the word "chai," meaning "alive," or "living."In Numerology it represents 18 which is considered a spiritual number. Traditionally it is a sign of luck. My husband and I adopted it as our last name. The name has occurred repeatedly in both our families. "Chai" 2012 multi media on woodboard varied dimensions
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Alef" 2012 multi media on woodboard 55cm in diameter
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Bet" 2012 multi media on woodboard 55cm in diameter
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Gimel" 2012 multi media on glass 44cm x 65cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Daled" 2012 multi media on glass 44cm x 65cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Hey" 2012 multi media on woodboard 42cm x 52cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Vav" 2012 multi media on woodboard 30cm x 60cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Zion" 2012 multi media on woodboard 30cm x 60cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Chet" 2012 multi media on woodboard 38cm x 74cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Tet" 2012 multi media on glass 35cm x 45cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Yod" 2012 multi media on wood board 57cm in diameter
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Kaf" 2013 multi media on canvas 44cm x 65cm
TTo me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Lamed" 2013 multi media on canvas 65cm x 44cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Mem" 2013 multi media on canvas 44cm x 65cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Nun" 2014 multi media on canvas 40m x 60cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
Samekh" 2014 multi media on wood board 47cm in diameter
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Ayin" 2014 multi media on wood board 50cm x 35cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Pe" 2014 multi media on canvas 60cm x 40cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Tsadi" 2014 multi media on canvas 41cm x 62cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Qoph" 2014 multi media on canvas 44cm x 58cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Qoph" 2014 multi media on canvas 35cm x 50cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Shin" 2014 multi media on canvas 35cm x 48cm
To me the calligraphy of Hebrew letters is captivating. I love the curvature and form of each letter. All represent a number in Numerology. I employed various paraphernalia, for example the charms I collected in childhood or pellets of color from our kibbutz factory. I worked on glass, wood and canvas. Building the collage was delightful!
"Tav" 2014 multi media on canvas 41cm x 62cm
I wrote the poem in this painting about a rift in my husband's family. It still is not resolved. There is no solution in sight. Even though it is upsetting we must leave it to fate. This painting is based on a photo I took of my daughter Yonat posing as the saving angel. The painting is in five parts or a Pentaptych.
"He tells it this way. They tell it that, rage rage the fiery spat.
I wrote the poem in this painting about a family rift in my husbands family. It still is not resolved. There is no solution in sight. Even though it is upsetting we must leave it to fate. This painting is based on a photo I took of my daughter Yonat posing as the saving angel. The painting is in five parts or a Pentaptych.
"He tells it this way. They tell it that, rage rage the fiery spat.
I wrote the poem in this painting about a rift in my husband's family. It still is not resolved. There is no solution in sight. Even though it is upsetting we must leave it to fate. This painting is based on a photo I took of my daughter Yonat posing as the saving angel. The painting is in five parts or a Pentaptych.
"He tells it this way. They tell it that, rage rage the fiery spat.
I wrote the poem in this painting about a rift in my husband's family. It still is not resolved. There is no solution in sight. Even though it is upsetting we must leave it to fate. This painting is based on a photo I took of my daughter Yonat posing as the saving angel. The painting is in five parts or a Pentaptych.
"He tells it this way. They tell it that, rage rage the fiery spat.
I wrote the poem in this painting about a rift in my husband's family. It still is not resolved. There is no solution in sight. Even though it is upsetting we must leave it to fate. This painting is based on a photo I took of my daughter Yonat posing as the saving angel. The painting is in five parts or a Pentaptych.
"He tells it this way. They tell it that, rage rage the fiery spat.
I wrote the poem in this painting about a rift in my husband's family. It still is not resolved. There is no solution in sight. Even though it is upsetting we must leave it to fate. This painting is based on a photo I took of my daughter Yonat posing as the saving angel. The painting is in five parts or a Pentaptych.
"He tells it this way. They tell it that, rage rage the fiery spat.
Here is a series of paintings with poems about folks, like me, who work the factory line. Every operator on the production floor is simply a pair of hands. His welfare is secondary as long as the quotas are met. Thus I focused on the hands of each employee. It makes no difference their ethnicity, Arab, Russian or Kibbutznik. Their hands are all remarkably similar. All are hard working under harsh conditions for minimum wage. Let us also keep in mind that each seeks a decent home, health, a good education and better life for their children.
We, the heedful between the swirling twirling and furling.
Here is a series of paintings with poems about folks, like me, who work the factory line. Every operator on the production floor is simply a pair of hands. His welfare is secondary as long as the quotas are met. Thus I focused on the hands of each employee. It makes no difference their ethnicity, Arab, Russian or Kibbutznik. Their hands are all remarkably similar. All are hard working under harsh conditions for minimum wage. Let us also keep in mind that each seeks a decent home, health, a good education and better life for their children.
"We are just running in place running in place." "Machine Operator's: Hand Mark" 2014 oil paint and plaster on canvas 80cm x 50cm
Here is a series of paintings with poems about folks, like me, who work the factory line. Every operator on the production floor is simply a pair of hands. His welfare is secondary as long as the quotas are met. Thus I focused on the hands of each employee. It makes no difference their ethnicity, Arab, Russian or Kibbutznik. Their hands are all remarkably similar. All are hard working under harsh conditions for minimum wage. Let us also keep in mind that each seeks a decent home, health, a good education and better life for their children.
We are the unseen a bolt in the machine.
Here is a series of paintings with poems about folks, like me, who work the factory line. Every operator on the production floor is simply a pair of hands. His welfare is secondary as long as the quotas are met. Thus I focused on the hands of each employee. It makes no difference their ethnicity, Arab, Russian or Kibbutznik. Their hands are all remarkably similar. All are hard working under harsh conditions for minimum wage. Let us also keep in mind that each seeks a decent home, health, a good education and better life for their children.
"Observe our hands. They shake. The scars the calluses the sparse paralysis." "Machine Operator's Hand: Hallel" 2014 oil paint and plaster on canvas 70cm x 55cm
Here is a series of paintings with poems about folks, like me, who work the factory line. Every operator on the production floor is simply a pair of hands. His welfare is secondary as long as the quotas are met. Thus I focused on the hands of each employee. It makes no difference their ethnicity, Arab, Russian or Kibbutznik. Their hands are all remarkably similar. All are hard working under harsh conditions for minimum wage. Let us also keep in mind that each seeks a decent home, health, a good education and better life for their children.
"We, who inhale the talc and the MEK. We, who toil in the dog days. We, who chill to the bone. We, the workers down below in the pitch black night. We, the workers dead on our feet an under asbestos sky." "Machine Operator's Hand: Achmud" 2014 oil paint and plaster on wood board 76cm x 83cm
Have you ever seen the Starlings murmurate? They fly in unison, in beautifully choreographed synchronization. It is an invigorating experience. Here I’ve tried to capture that with this group of Starlings murmurating at sunset. I emphasized the transparency of their wings.
"On avatars wings they reverberate. The starlings they murmurate
Here is a stork with a mosquito fish in his beak. The fish is still alive. It’s wet. A minute ago it swam in Lake Agamon, Hula Valley, Israel. My daughter Yonat and I witnessed this breathtaking occurrence. It was important to me to capture the feeling of the moment, to paint an exact image of the stork with the fish still wet it's beak, with water was swirling around them.
"When his flight group rebounds a white stork swoops down,
This painting was inspired by a comment by Yonat, my daughter: Telling about her contentment at, 'Call to Prayer' from the Mosques surrounding us. Her feeling of being home. This painting was also inspired by the Tavor itself, by it's history and beauty, by the bloom of almond blossoms.
"We found monumental hope in the comfort at 'Call to Prayer' and in each village 'round your gentle slope. We concert our scrawl to the soothsayer." "The Tavor at Sunset" 2016 oil paint on canvas 140cm x 160cm
There's a time of year when our mountain, 'The Tavor' is totally enveloped by a ring of yellow sunflowers. This painting is in celebration of those sunflowers.
"Daybreak proceeds the glisten, the flow, on a golden yellow.
This painting is in celebration of the sanctity of babies, each and every baby. Like in the Renaissance paintings of Rafael, I added an aura around baby 'Gev', to signify his divinity.
"Every Baby is Baby Jesus" 2017 oil paint on canvas 60cm x 40cm
Here's a painting about happiness, the happiness between mother and child. It's also about a child's mischief and a cat's patience. I think I succeeded in portraying all three situations.
"Oh my little sky high traveler I chronicle your eye color.
The subject of 'Mother and Child has been painted repeatedly throughout history. Here's my interprutation:
"It is the affinity of mother and child.
Here is a painting about the moment, the transition from infancy to boyhood.
"On the conception, of boyhood the dawn of boyhood the launch of boyhood.
Capturing a moment in time of grandson Gev's busy life.
"Gev, Age Two " 2019 oil paint on canvas 100cm x 70cm
Heralding the Spring, the wild flowers, filling the landscape with breathtaking beauty. Here's Gev enjoying a field of anemones.
"I shall give you wonderful colors. Red and violet anemones, prevailing in the green grass.
This painting is about the relationship between a two year old boy named Gev and his pet cat, 'Mitzah'.
"Besties my furry pillow, the purring motor, an inner compass,
Here's my main mode of transportation, my bicycle. The painting is in three parts or a Triptych.
"The right of delight,