The TEN (or MINYAN) was a series of holocaust drawings I created that superimposed Kabbalah symbols or references onto documentary photographs. I hoped to provide some psychological closure by embracing the victims within Jewish mysticism. That was naive. However, an outcome of this series was the Midrash series and a new, more invigorated approach to mark making.
While working a full-time job, my Saturdays and Sundays were filled with taking care of young ones or finding time in the studio. When I was in the studio I worked very fast, completing a drawing/painting in a single setting. The problem was that I had little to sustain me during the rest of the week. My solution seemed counter-intuitive but served me in the long term: create a series of drawings that were so large and complicated that they couldn't possibly be finished in one day and, as a result, couldn't be shown in a gallery (removing the anxiety of finding a gallery and exhibiting.
My studio was located in the basement of a building and occupied half a city block. It could accommodate large drawings. My theme was taken from my childhood memories of bible stories that haunted me: The Expulsion, Cain, Lot's Wife, Noah, Job, Abraham, and Moses' breaking of the tablets. Each drawing took at least six months to create and the week long absence gave me a chance to meditate on the work. I was creating my own Midrash.
The MIDRASH, or more appropriately, Midrash Aggada, examines the moral principles behind the bible stories and through the months of drawing I came to understand the stories. Throughout, I was influenced by The Book of J (Harold Bloom, author and David Rosenberg, translator).
From 2001-2013 I drew Bar and Bat Mitzvah invitations for my nephews and nieces using the passages from the Torah or Haftorah as inspiration. As my family has evolved into wedding and birth announcements I have continued to honor this generation with CELEBRATIONS, a labor of love.