I grew up on a lake in Florida and spent much of my childhood outside.
As I played, I never tired of watching the paintings made by the
clouds in the sky. In University, I learned from good instructors,
among them, Neil Welliver who believed that “nature is the best
teacher”. Although I studied with him in a place far from natural
- the city of Philadelphia - the business of going out to paint
what little nature I could find agreed with my love of being outdoors.
When I paint I find the animate in what we rationally consider inanimate
objects. This is perhaps due in part to my personal reading of the
world as a place endowed with spirit. Trees are close to humans
in many ways: we have songs and stories in which we anthropomorphize
trees and we have expressions for our own actions that are rooted
in the language about plants and trees.
Rocks and mountains are a bit more removed from people but when
one looks at these objects in geological time they too are fluid
and changing; forming and eroding. I enjoy this tension in the dichotomy
between the solid world in which we stand and the changes that it
has undergone and is forever undergoing.
On a visual level too there is a struggle between solid form and
dissolving organic form. Brush strokes of color move through rocks
and trees and clouds implying movement in what is otherwise a static
object. At the same time the forms never dissolve completely, maintaining
their identity as the objects that we know. Where content is concerned,
I'm drawn to subjects that remind us of this state of flux.
In my first paintings of the Arava desert, I tended to filter out
the manmade objects that were either permanent fixtures or left
over remains from the various people who had passed through, preferring
to see only the beauty of nature and considering these objects as
ugly by comparison. After a time, my environmental outrage had to
find expression in the paintings somehow and I began to include
an old oil drum here and an old tractor tire there. The electric
pylons found their way into my paintings. The distraction of these
things from the beauty of the landscape is deliberate. I have also
begun making sculptures using the debris that I find together with
ceramics. The idea behind both the sculptures and the paintings
is the combination of what is alive and what is killing life.
I had my formal education in the United States at the University
of Pennsylvania, and then at Indiana University. I studied with
such successful painters as Neil Welliver, Robert Barnes, Robert
Godfrey, Barry Gealt, and Bonnie Sklarski, taking something from
each of them (Thank You).
My desire to live in a Jewish country, as well as my love for Mediterranean
cultures, and my need for beauty in the landscape around me, took
me to Israel. Today
I live on Kibbutz Ketura,
located in the southern Arava desert. I frequently paint from the
landscape in the area, and at Hai-Bar,
a nearby nature reserve. I have also done collaborative environmental
art projects and play equipment for children. for and with the community,
using recycled garbage and the clay-filled mud of the area, to build
sculptures that are also benches.
. I have shown my paintings in Tel Aviv, Beer Sheva, Ashkelon, Jerusalem
and the Arava.
MFA Indiana University in Bloomington 1985- studied with Robert
Barnes, Barry Gealt and Bonnie Sklarski
BA University of Pennsylvania 1981- studied with Neil Welliver and
2004 “Southerly Wind”, one woman show, Ephrat Gallery, Tel Aviv,
2004 “From the Shoah to the Rise of Israel”, group show, Son’s
Memorial, Beer Sheva, Israel
2004 group exhibition of Negev artists, Jerusalem Theater, Jerusalem,
2003 group exhibition Cultural Arts Center in Ashkelon, Israel
2002 "The Desert According to Marla", one woman show,
"Kav 20", Hevel Eilot, Israel
2002 "On the Edge of the Desert", one woman show, Leonardo
Gallery, Tel Aviv, Israel
2002 "New Energy", group show, Beer Sheva Public Library,
Beer Sheva, Israel