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Boaz Vaadia"Zofar" Boaz Vaadia, Human Body, Bronze and Stone, Anthropomorphic Sculpture1997
1997
About the Item
Boaz Vaadia
Zofar, 1997
Bronze, bluestone, and boulder
Overall 20 x 29 x 27 inches
From the edition of 7
Provenance
Elaine Baker Gallery, Boca Raton, Florida
Boaz Vaadia is the internationally known sculptor whose timeless, evocative stone figures now inhabit museums, cultural sites, art galleries, and private collections. As major installations at prime buildings, parks, and homes around the world, they set a tone of peace and serenity. Born and raised in Israel, Vaadia moved to New York City in 1975 thanks to a grant he received from the American-Israel Cultural Foundation. Vaadia established his studio in SoHo just before its streets labored to give birth to a new community of working artists. Roads were torn up and buildings were torn down. In the chaos of New York City, he discovered supplies from the earth. Slate and bluestone, ubiquitous materials of the city, are sedimentary rocks from glacial periods, millions of years old. The city’s detritus: vestigial windowsills, shingles, and curb stones were all readily available to an artist, permitting the recycling of nature’s resources to build, destruct, and reconstruct edifices of the future. Vaadia used these materials to make personal totems that evoked primal energies and ritual.
Starting in 1985, representations of man and woman emerged from Vaadia’s
earlier abstract, monumental effigies. Though generalized in form, there is some individuality in each figure, the artist’s intention being to represent the essence of a specific person. “I love people. Each person is unique, as is the work of an artist. It is important that we, as artists, identify our own uniqueness, just as every individual
needs to identify his/her own individuality.” This individuality resides in centeredness, not in superficial attributes. It is that which unites us as human beings.
Vaadia hand carves slices of slate and bluestone, shaping them to be layers in a kind of topographical map. He stacks the horizontal slabs until the graded silhouette of a person, animal or group emerges. Sometimes he places a long single stone piece across a layer within juxtaposed figures to unite them. This subtle strategy suggests the merging and love shared between the figures. He views the geological layering of the stone as a natural model for his own sculptural process. It seems a logical metaphor for our human layering of experience and memory. Vaadia’s new work focuses on gigantic, layered stone heads, heads that develop from small studies of particular people. He selects all the sitters, beginning with his own children, Sara and Rebecca, and then seeks other unique heads among people with whom he works and sees on the street. Vaadia takes photos to formalize
a first impression, and then sculpts a likeness in oil-based clay, adding grooves to simulate stone layers. The subsequent plaster cast begins to dissolve details, focusing instead on mass, volume and body language, qualities that are characteristic of the sitter. Details are blurred, made more generic in the handling of the stone layers. Vaadia listens to viewers’ impressions, enjoying their process of filling in the details and projecting their own interpretation onto the work. In recent years, Vaadia has been making bronze castings of many of the large “outdoor” pieces as well as the variously scaled studies. Vaadia is keeping a collection of castings, one from each edition, and a few of the original stone works, for loan to public museums and for exhibitions that travel. In the spring of 2005, two large pieces will be on loan for two years to the DeCordova Museum and Sculpture
Park in Lincoln, Massachusetts.
- Creator:Boaz Vaadia (1951, American)
- Creation Year:1997
- Dimensions:Height: 20 in (50.8 cm)Width: 29 in (73.66 cm)Depth: 27 in (68.58 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1841217078092
Boaz Vaadia
Born in Gat Rimon in 1951, Vaadia grew up in a rural community where his parents, Nissim Vaadia and Rivka Horozlaski, farmed strawberries. In 1968, he enrolled at the Avni Institute of Fine Arts in Tel Aviv but was drafted into the Israeli Army just a year later. After completing his service, he returned to school and began teaching there after graduating. In 1975, with a grant from America-Israel Cultural Foundation, he relocated to New York, where he studied at the Pratt Institute. The artist said he thought the move was “the worst mistake of my life,” but “within one week I actually recognized that the urban environment of New York is as natural as my village.” Vaadia began collecting materials such as slate, shingles, bluestone, and boulders after he discovered an ongoing construction project near his studio in SoHo. As workers ripped up the bluestone sidewalk, Vaadia carried the discarded material to his loft, where he worked with a hammer and chisel to further expose the sedimentary layers of the rocks. Inspired by the stratified layers, he began creating sculptures that echoed the natural composition of his materials. As his artistic output grew, he relocated to a studio in Williamsburg and started collecting boulders, but he was eventually forced to order materials. Primarily named after biblical figures, his public works can be found outdoors in parks and in front of businesses, as well as in the collections of institutions such as the Metropolitan Museum of Art, SF MoMA, the Bass Museum of Art, and the Tel Aviv Museum.
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