tag:blogger.com,1999:blog-302504642024-03-07T14:00:26.599-08:00Origami Aestheticssaadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comBlogger109125tag:blogger.com,1999:blog-30250464.post-64878467746889049562024-01-22T10:49:00.000-08:002024-02-02T08:43:00.765-08:00Bird Impromptus<p>It pleases me these days to do pop-up displays: 20 minutes and you have a nice show of sculptures. Here's one that I threw together this afternoon for a bird-watching event at my eco-activist place, Beersheva's "Be'eri community farm": </p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibME5NHlE7VTz-rsRL254zAILEgqpW3HELlhSOByXXKb7HrHtSgTwIGe-YE7lDUdDduS40R_p87NlVDzhJ0wnv9vXhyphenhyphenWinWyMQ4XRkKHVUkcPOnRbgqxQQkC0RhEDv0FCKKRldeWSwA1XougNbZu3bOr3pExKw-A1cptrbXhDv3eQXRkY8gDI_/s4013/1705942413365.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2527" data-original-width="4013" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibME5NHlE7VTz-rsRL254zAILEgqpW3HELlhSOByXXKb7HrHtSgTwIGe-YE7lDUdDduS40R_p87NlVDzhJ0wnv9vXhyphenhyphenWinWyMQ4XRkKHVUkcPOnRbgqxQQkC0RhEDv0FCKKRldeWSwA1XougNbZu3bOr3pExKw-A1cptrbXhDv3eQXRkY8gDI_/s320/1705942413365.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipv5xM14Px-PCKfz7VJW0zLMk-WYb2Z8W6ohgG_P_ttgn0dinLAH7fr5HC0YYC97n98F-oXkFcCI114Jm-fw-po1RmtsYv9U3Ld1mRfeyCmQTAJg2e0XOJwCt-Sfqmzx7X4PYfnhH-B1DwYVL1YBSSdf6TT9ZbcleqqClLsxd_bDvWv28OW7kO/s4080/1705942413389.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3072" data-original-width="4080" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipv5xM14Px-PCKfz7VJW0zLMk-WYb2Z8W6ohgG_P_ttgn0dinLAH7fr5HC0YYC97n98F-oXkFcCI114Jm-fw-po1RmtsYv9U3Ld1mRfeyCmQTAJg2e0XOJwCt-Sfqmzx7X4PYfnhH-B1DwYVL1YBSSdf6TT9ZbcleqqClLsxd_bDvWv28OW7kO/s320/1705942413389.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxil_Dk15h8g5NFVc6TpL0aPV_V9eTH1II4eLFJp0XLscInpWwExcnA451M2JWfK1WJX8ZOqiTslW6WFxT7ZX0Gwj3_mHhN64THgoYm1Ia4gH_9lZ0OgyURhHpFtGC62QbHVSwnO7LCGRfEreCosszRKGY2f6XauHNWm53udctCVmxKzWRR5aW/s3952/Birds%20at%20Beeri%20Farm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1516" data-original-width="3952" height="123" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxil_Dk15h8g5NFVc6TpL0aPV_V9eTH1II4eLFJp0XLscInpWwExcnA451M2JWfK1WJX8ZOqiTslW6WFxT7ZX0Gwj3_mHhN64THgoYm1Ia4gH_9lZ0OgyURhHpFtGC62QbHVSwnO7LCGRfEreCosszRKGY2f6XauHNWm53udctCVmxKzWRR5aW/s320/Birds%20at%20Beeri%20Farm.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"> Now I'm in a bar, looking over my things again in the poor light:</span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTdVJiRdkuRCAnlA7DIqjwAopBXRhs3XdEiMD8ewF9h0bKPrnenN8p8eu4mX5pLw_xwHNzsHAbS2R0mxMHIo3bUAHOSEh5wjjLd50DFBT9TDi7k9b_lpqG1al4b9a-W0XGTKChk792olMJVInxrK7PK_TgHeQH2PuRQCvUJF0J3v6LPGv3GPVs/s4080/1705942413171.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3072" data-original-width="4080" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTdVJiRdkuRCAnlA7DIqjwAopBXRhs3XdEiMD8ewF9h0bKPrnenN8p8eu4mX5pLw_xwHNzsHAbS2R0mxMHIo3bUAHOSEh5wjjLd50DFBT9TDi7k9b_lpqG1al4b9a-W0XGTKChk792olMJVInxrK7PK_TgHeQH2PuRQCvUJF0J3v6LPGv3GPVs/w200-h151/1705942413171.jpg" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKnUx6Aao1n76iKssPcWBCYnef5NCPaKmLKD0WUPq71hIxOLef93y1jGX49KhN0d7pb3ExWVtunXJjliz_bURFtE9CV0qbkaqxT0bY3gUab3GPTovjwmRE8U0-ye4JASv1zsCc4w0x54LCaZEcSaZjpp79eEGR4u1N3FEiM12rQH06E1DfyVpz/s4080/1705942413257.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3072" data-original-width="4080" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKnUx6Aao1n76iKssPcWBCYnef5NCPaKmLKD0WUPq71hIxOLef93y1jGX49KhN0d7pb3ExWVtunXJjliz_bURFtE9CV0qbkaqxT0bY3gUab3GPTovjwmRE8U0-ye4JASv1zsCc4w0x54LCaZEcSaZjpp79eEGR4u1N3FEiM12rQH06E1DfyVpz/w200-h151/1705942413257.jpg" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIvkhniIYbCdO0PydyYRkqBFzVKSffYE961Y3Q5EzoGR5JxkfSzpezOPCOAGty2hYfDMQNY5DMmPmfIJiZLCLKYJgfEdK6qiufnIj6kpzEwzOyeJEIvBMmTXJWsCIS88Tz-3pTPAoCtLPTnKgrZfxmgK9po4KXdkjbgRhbrKdRV_ceebSADXgo/s4080/_storage_emulated_0_Android_data_com.miui.gallery_cache_SecurityShare_1705942413278.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3072" data-original-width="4080" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIvkhniIYbCdO0PydyYRkqBFzVKSffYE961Y3Q5EzoGR5JxkfSzpezOPCOAGty2hYfDMQNY5DMmPmfIJiZLCLKYJgfEdK6qiufnIj6kpzEwzOyeJEIvBMmTXJWsCIS88Tz-3pTPAoCtLPTnKgrZfxmgK9po4KXdkjbgRhbrKdRV_ceebSADXgo/w200-h151/_storage_emulated_0_Android_data_com.miui.gallery_cache_SecurityShare_1705942413278.jpg" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>These are from the collection of bird models I've designed over the years. A very small fraction I have to say...</p><p><br /></p><p>--- --- ---</p><p>Last week I did another quickie show when my local group, OrigamIsrael, did me the honor of coming to my city and holding its bi-monthly meeting at "Homa", my community-arts space:</p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmjHdpJZ_QL6OPRCMLaOYw8skTprc9opxmN_ue6bvEIMSiKOywAfGNxtlECtMO9bPAf9DMoOo8Q12vbu_v0pwewywHu-cOY4EANo7yO863fPhZa-ZIEs7kCDAtLP-NoImOjgN_hXOqizuwyarCKMPe-2s0rtTxU8nrIuLltyAllif_D-4taJXW/s3079/Red%20Bust2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3079" data-original-width="2909" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmjHdpJZ_QL6OPRCMLaOYw8skTprc9opxmN_ue6bvEIMSiKOywAfGNxtlECtMO9bPAf9DMoOo8Q12vbu_v0pwewywHu-cOY4EANo7yO863fPhZa-ZIEs7kCDAtLP-NoImOjgN_hXOqizuwyarCKMPe-2s0rtTxU8nrIuLltyAllif_D-4taJXW/s320/Red%20Bust2.jpg" width="302" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsHozzWaPnRJLGf3gRX-GwXqgEO98CE7PEs4G9sXqfd324iV3-gh_Vtnc6Sl1PCy_6n5nFq1A4nPCDY1LnIHKuj6-EBp1OC_PSgGUqAK8VF60fDv1KWxY-ObqwUpCnMXBOgz56WSbi2SlQV5LJwnZu_QQym7DEov62ewNZfOBrgTtNL8pUt_yb/s4080/1705946159219.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3072" data-original-width="4080" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsHozzWaPnRJLGf3gRX-GwXqgEO98CE7PEs4G9sXqfd324iV3-gh_Vtnc6Sl1PCy_6n5nFq1A4nPCDY1LnIHKuj6-EBp1OC_PSgGUqAK8VF60fDv1KWxY-ObqwUpCnMXBOgz56WSbi2SlQV5LJwnZu_QQym7DEov62ewNZfOBrgTtNL8pUt_yb/s320/1705946159219.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVIcui-P78ruLAC_BcdWrD_hooocagDS5HwZzU0V53Askp-gtRCOPqjUqbTxXcB8ILgETMvdAggroZUIxYTGkWpUZ6mde2tV-YqD_aL9fpEoqAFnrh5I8ThP_dehNYqB_Pf2smPHvtkVJY4Qnb6ANr6IGSt_f0tWolTfwAlXKkWDXvh5y14zBS/s3336/1705951270604.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2056" data-original-width="3336" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVIcui-P78ruLAC_BcdWrD_hooocagDS5HwZzU0V53Askp-gtRCOPqjUqbTxXcB8ILgETMvdAggroZUIxYTGkWpUZ6mde2tV-YqD_aL9fpEoqAFnrh5I8ThP_dehNYqB_Pf2smPHvtkVJY4Qnb6ANr6IGSt_f0tWolTfwAlXKkWDXvh5y14zBS/s320/1705951270604.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgowe5t7LJVjZ3eV2PqSW2ZLFhquWawSWUUhMnb4W0iV67Au9J2OO1yOPsgUnpWcDD_GckJ4-JPmlYU2VEC5W6nG87N5CONqhrsINiy_jqHOj-2ksP-krA3-a1h3tif4q7GhnQBvE_3JAPGwV6yahopd36iK0CbPNITU2h8irM0tdDhCZXhtQL-/s3500/Horse%20at%20Homa.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2538" data-original-width="3500" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgowe5t7LJVjZ3eV2PqSW2ZLFhquWawSWUUhMnb4W0iV67Au9J2OO1yOPsgUnpWcDD_GckJ4-JPmlYU2VEC5W6nG87N5CONqhrsINiy_jqHOj-2ksP-krA3-a1h3tif4q7GhnQBvE_3JAPGwV6yahopd36iK0CbPNITU2h8irM0tdDhCZXhtQL-/s320/Horse%20at%20Homa.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div>There will be more of these I think.<div>S.</div>saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-85866809661637035172023-12-11T01:26:00.000-08:002023-12-13T03:16:35.828-08:00Slow and Steady<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator"><br /></div><div class="separator">It's not like I don't have an infinity of things to say about the currrent goings on in Israel, how I'm coping and so forth. But instead, I'll report just the incremental progress on the face-work: the results of my experiments these last weeks and months. I am trying to squeeze more control and expressive range out of this technology, which is still too unwieldy. --S.</div><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIpQaSwKOTbWvNlyfcjgoAtADlA58eC0AM7803Bx0lI8n9lFEjAsCReqbdSX0soG68PNZ0k7C3NRlS8fLVj5T2xy5RQN-oExoYjm-yAQf-SZ2166JdRCg0pGkUfeSOEIhC4JXwZWZjB7zxHXB6hoU83UaJi40ZfOaUFnernKitpK_jsYCD-SPj/s2647/Pilgrim1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2394" data-original-width="2647" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIpQaSwKOTbWvNlyfcjgoAtADlA58eC0AM7803Bx0lI8n9lFEjAsCReqbdSX0soG68PNZ0k7C3NRlS8fLVj5T2xy5RQN-oExoYjm-yAQf-SZ2166JdRCg0pGkUfeSOEIhC4JXwZWZjB7zxHXB6hoU83UaJi40ZfOaUFnernKitpK_jsYCD-SPj/s320/Pilgrim1.jpg" width="320" /></a><br /></td></tr><tr><td class="tr-caption" style="text-align: center;">"Pilgrim". An earlier state of this sculpture is up on my Flickr site.<br /><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBTRfrhxYCqkF75sK9GzdGHjHTSNwvMTvF3imVeHz3BZ1IJ4Le6xDX8rjauqJkf5VdpLoSbqB0i2Fs6C_fqtLyTRS_k5Jhwxg1N0eDqENial2ahEcfhhvYUIM8q14WS8B3Eo5H2eZKZ4-L9K51r6IwaNUY5XfNC57vlMNMc0ZonOlZkakdv4ku/s3206/Notta%20Naughtsy.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2700" data-original-width="3206" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBTRfrhxYCqkF75sK9GzdGHjHTSNwvMTvF3imVeHz3BZ1IJ4Le6xDX8rjauqJkf5VdpLoSbqB0i2Fs6C_fqtLyTRS_k5Jhwxg1N0eDqENial2ahEcfhhvYUIM8q14WS8B3Eo5H2eZKZ4-L9K51r6IwaNUY5XfNC57vlMNMc0ZonOlZkakdv4ku/s320/Notta%20Naughtsy.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"Notta Naughtsy"</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFKLY5lNILf2NuoGTfskAPsc2NxjdRJlcBAabNUeHpNh9X8n1udQRN9xQUQB2HnUnLd3Drn4Gq-BF9litc11VvhlsZoDrsxocdGPb4hNFD5zTnJm1CCEWMOR7gfFHFMVgQ4ybfzUkvxMJWNY4Q8dslgpacjJNtvZI0NWCC3VJlAUZq2KTIsDf7/s3703/Bluette.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3703" data-original-width="2901" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFKLY5lNILf2NuoGTfskAPsc2NxjdRJlcBAabNUeHpNh9X8n1udQRN9xQUQB2HnUnLd3Drn4Gq-BF9litc11VvhlsZoDrsxocdGPb4hNFD5zTnJm1CCEWMOR7gfFHFMVgQ4ybfzUkvxMJWNY4Q8dslgpacjJNtvZI0NWCC3VJlAUZq2KTIsDf7/s320/Bluette.jpg" width="251" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"Bluette"<br /><br /><br /></td></tr></tbody></table></div><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCFeMGQvu1T1jHRpRzhMF0hvbHh-ZfwcIkdHs2KZh5lz9OempdIKgjxB17674hnQD_TTvtS92qK-VbqxeJdrfzPz4v8pQNg4NRrYMZZfDe9v9Dpgt74oGqYHQ2DFYj2WJJxD4vMEMF6pEsZca2FJhmSd40XKdJ_NYWatwp3fB8tbfvnr4VaoF6/s2938/Yehuda.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2891" data-original-width="2938" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCFeMGQvu1T1jHRpRzhMF0hvbHh-ZfwcIkdHs2KZh5lz9OempdIKgjxB17674hnQD_TTvtS92qK-VbqxeJdrfzPz4v8pQNg4NRrYMZZfDe9v9Dpgt74oGqYHQ2DFYj2WJJxD4vMEMF6pEsZca2FJhmSd40XKdJ_NYWatwp3fB8tbfvnr4VaoF6/w200-h197/Yehuda.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"Yehuda"<br /><br /></td></tr></tbody></table></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /><br /><br /><p><br /></p>saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-55179095446353001122023-11-25T02:49:00.000-08:002024-02-14T02:00:41.745-08:00Desert Interlude<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBwj5dcmFL_BHagQ1oynUPfHvIRm192-CL2gt66AHIE4VmObsGUJK9Q5MSjDdOm-I2RGwihgFICBb76SpZAl4V1OWg7aOUhyphenhyphenuOe9CfjQnavs7FCj_998gUT2bL6e_HSBJewnmgS3O15fydQW-IAaq1MqhbkeYq5dma-WK-Li1Nxe5y5a-wgGx5/s2405/Camel%20Head.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2405" data-original-width="2250" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBwj5dcmFL_BHagQ1oynUPfHvIRm192-CL2gt66AHIE4VmObsGUJK9Q5MSjDdOm-I2RGwihgFICBb76SpZAl4V1OWg7aOUhyphenhyphenuOe9CfjQnavs7FCj_998gUT2bL6e_HSBJewnmgS3O15fydQW-IAaq1MqhbkeYq5dma-WK-Li1Nxe5y5a-wgGx5/s320/Camel%20Head.jpg" width="299" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><b>Camel-head study</b>, by Saadya, 2011. </span></td></tr></tbody></table><br /><div><br /></div><div>Yesterday I was able to get to my desert spot in the Negev, the first time since hostilities broke out 7 weeks ago that I've ventured into nature's open, empty spaces. It's the nearest place by public transportation where I can feel free: a half-hour busride on the highway south of Beersheva, then a 12 minute walk into the desert as the traffic sights and sounds disappear. Always I rest my head on the root of this Eshel tree (<i>Tamarix aphylla</i>) knowing it and the desert</div><div><br /><div><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRQIqdKwTnHN7_3CH-FybWqIhkj8dVNtNM2ouzG4_yRizwO1qPO_qAFkEdEok3RXF766H0v7oX6pGR0l25JMYYa8gi98PO08qYD2nomgoUUgkL3VGP1SCy2tfT4xxzZh5MDBhZZFYpQfn9-j4JuNmqtn_gwqBm2j4hwCIAqqm2vlLVq_Uaf-sJ/s1775/my%20desert%20spot%20near%20Mashabei%20Sadeh.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1003" data-original-width="1775" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRQIqdKwTnHN7_3CH-FybWqIhkj8dVNtNM2ouzG4_yRizwO1qPO_qAFkEdEok3RXF766H0v7oX6pGR0l25JMYYa8gi98PO08qYD2nomgoUUgkL3VGP1SCy2tfT4xxzZh5MDBhZZFYpQfn9-j4JuNmqtn_gwqBm2j4hwCIAqqm2vlLVq_Uaf-sJ/w400-h226/my%20desert%20spot%20near%20Mashabei%20Sadeh.png" width="400" /></a></div><div><br /></div><div>will work its charm and in fifteen minutes I'll be calmed from agitation, anxiety -- about employment, about my ailing parents, about Covid, about the government of criminals in Israel since January, now about this war, and the hostages one of whom I know (the actor <a href="https://www.youtube.com/watch?v=2gCdQsT43Yc" target="_blank">Luis Har</a>, born in Argentina, who I shared a stage with once). All these melt away, or can be thought of from the right distance and closeness, from the right spans of time. Then I can walk farther into the glimmering rocks, and note the vestiges of past inhabitants, some from centuries ago, some from tens of thousands of years ago. No doubt they had struggles too, families, tribes, neighbors, survival, but that's all gone now, as I will be too for some future spectator. It is as well. </div><div><br /></div><div> --S.<p><br /></p><p><br /></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6aRGyCY32AFeaGpg2FfdBLHJP2hJ3ADaFJK6BRFkI_tFRQYO5NI_hAguQX-vIJvriPi4T4wRTZiy0W51DKdjswinyRf6S7Cs9EtfocyncLnS5cgy1WVndEjazcvzu7ht9Lk8ZRObrrVQn7ny-T5zkA0HoLQuEavMrlnlAt0qt5wrrTIKcoVrU/s4080/the%20desert%20near%20my%20spot.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3072" data-original-width="4080" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6aRGyCY32AFeaGpg2FfdBLHJP2hJ3ADaFJK6BRFkI_tFRQYO5NI_hAguQX-vIJvriPi4T4wRTZiy0W51DKdjswinyRf6S7Cs9EtfocyncLnS5cgy1WVndEjazcvzu7ht9Lk8ZRObrrVQn7ny-T5zkA0HoLQuEavMrlnlAt0qt5wrrTIKcoVrU/w400-h301/the%20desert%20near%20my%20spot.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"> Look closely, you'll see stone ridges built by residents, some here a VERY long time ago.</span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIxTrVPiRmO_v7N5CuVnVvLdylvxzWf8BBPHLC9gzL-qwiftRxWSVLwYFZLi1W2rYL_kkgMHJGduzgXD-S5vVvXHBAVRktJLfJv9EyOHxqqToVhDxJhILs7lEhcSHigyL5QO_V_Ws3FH5PM_y5xBMnIGgE4ptlR6UDkfFOHxz5A5elSF1jAbNQ/s3232/EinAvdatElionFlintTools%20(1).JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1562" data-original-width="3232" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIxTrVPiRmO_v7N5CuVnVvLdylvxzWf8BBPHLC9gzL-qwiftRxWSVLwYFZLi1W2rYL_kkgMHJGduzgXD-S5vVvXHBAVRktJLfJv9EyOHxqqToVhDxJhILs7lEhcSHigyL5QO_V_Ws3FH5PM_y5xBMnIGgE4ptlR6UDkfFOHxz5A5elSF1jAbNQ/w400-h194/EinAvdatElionFlintTools%20(1).JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><b>Cutting-edge technologies</b>: Flint tools and projectiles from around the Negev, some made 40,000 years ago. The one at far right is from this landscape (it cuts steak very nicely, I can attest). At left is a modern counterpart, a fragment of an Iron Dome arrowhead that fell on a street near me.</span><br /><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimG37t90lGhzOhsKXvqMtXx4iMMztNm06dHS5_5URUmvdP5RU3kMEU2fIiclD4bPVAKp0QWWf38xb4rN5wW82wdda5vQ5BIxmGGJUgwtJ66IJwdTYAZpfE9CD0B0WqOLTiFGnzfJJLsuJch79Ws-u5MwNg3QHVt_PSU-jzlDvsQqmbGv_l6zMi/s3123/Negev%20camels2.jpg" style="margin-left: auto; margin-right: auto;"><b><img border="0" data-original-height="1725" data-original-width="3123" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimG37t90lGhzOhsKXvqMtXx4iMMztNm06dHS5_5URUmvdP5RU3kMEU2fIiclD4bPVAKp0QWWf38xb4rN5wW82wdda5vQ5BIxmGGJUgwtJ66IJwdTYAZpfE9CD0B0WqOLTiFGnzfJJLsuJch79Ws-u5MwNg3QHVt_PSU-jzlDvsQqmbGv_l6zMi/w320-h177/Negev%20camels2.jpg" width="320" /></b></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><b>Negev Camels</b>, by Saadya, 2005. </span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div></div><br /><br /></div></div></div>saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-84412585886245330202023-11-08T14:09:00.020-08:002023-11-08T22:10:42.728-08:00Agitation and Calm; Activity or is it Escapism<p><span style="font-size: medium;"> </span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRaQnuJuOomuCdN_xvxR5PKhitkMKL_mzrsLkWRny2s_vb7D-UfSlRn-V5ynCjaSqOm9sPAYqsOK1e0IkLC_v6Y0wlwmrdFEvJnZlcLOt6KfLAoGkeG4K4ZHtZ6IsuFmPRPyKe0zBCB98CsXOwIxgx2Qw9Rat0jp8OYwDNM_7bbVA2iGlxUmQC/s3490/Head,%20Arches-paper%20Nov%202023.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="3490" data-original-width="2627" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRaQnuJuOomuCdN_xvxR5PKhitkMKL_mzrsLkWRny2s_vb7D-UfSlRn-V5ynCjaSqOm9sPAYqsOK1e0IkLC_v6Y0wlwmrdFEvJnZlcLOt6KfLAoGkeG4K4ZHtZ6IsuFmPRPyKe0zBCB98CsXOwIxgx2Qw9Rat0jp8OYwDNM_7bbVA2iGlxUmQC/w301-h400/Head,%20Arches-paper%20Nov%202023.jpg" width="301" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Head by Saadya, Oct 2023.<br />Folded from an uncut rectangle of watercolor paper.</span></td></tr></tbody></table><p class="MsoNormal"><span style="font-size: medium;"><br /></span></p><p class="MsoNormal">[November 4, 2023.] I’m processing lots. Like all my compatriots and I guess all of the Middle East. It's fair to ask, when I make time for origami, what I'm making time for, and what’s being set aside. Calm, is part of what the folding brings.
It quells agitation and gives a kind of time-out, after which one is mentally refreshed. </p><p class="MsoNormal">But there are positive activities that any citizen can and should get
involved with these days. At Soroka hospital up the street are wounded soldiers
and civilians; they have families staying with them in need of feeding,
lodging, entertainment which could include origami, of children especially but
not only. There are the fields west of here: much of the fresh produce in this
country comes from areas near to Gaza, empty now of hands for the fall
harvest and winter seeding. But I’m too old for a full day’s agricultural labor,
and limit myself to neighborhood-garden plantings for the food crunch that will
come in 3 months. Also I have aging parents in a bad way and obligations to
care for them; I can’t just hand myself over to national causes. In the Dead Sea
Hotel area which is close to me (mentally close for residents of the Negev;
geographically not really closer than the big cities of Israel's “center”) are
lodged residents displaced from the Gaza envelope towns and farms, tens of
thousands of them; I’ve made arrangements to volunteer and should start with
that soon. That may or may not involve origami: could be accompanying groups of
bicyclists, could be teaching English, or other involvements, we’ll see. I'm socializing more in this period, both with my eco-activist urban-farm group (Beersheva’s <i>Khavat
Be’eri</i>, what a team of Quiet Doers, real heroes!) which has stayed open
and filled the gap left by the shuttered educational institutions, and with the
art-activist group <i>Homa</i> that has also spearheaded activities.</p>
<p class="MsoNormal">In short I can’t say I’ve been doing much in the wartime
contributions department beyond worry, like most of the civilian population.<o:p></o:p></p><p class="MsoNormal">When I say ‘do origami’ and ‘where does it fit in all this’ what do I mean. Well I have this endless, lifelong research project (i.e., obsession) to get cleaner and cleaner renditions of the human face, the human head; so I have piles of studies done at cafes on cheap paper (about 20 minutes apiece), the best of which are tested now at home on good paper (2-3 hours apiece, including the cutting & staining). I’m committed also to going back to some of my </p><p class="MsoNormal"><span style="font-size: medium;"><br /></span></p>
<p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe8fDpgMdlqq93j08tx7IczmQqHZ8aABr21cbww8C61m99ABMPycbXpGklXDTq12UTiXp07r3HabmjzBkiTchN9QrWP762jtNRX9CSN1U5YeuCZldiZGkkSTzmAUOwK3nMV14cOxgFvgpevO3JgVkElxyx-x4wQAKNP0j8sSadGCSv9l1ou0uX/s3035/face%20experiments%20Nov%202023.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-size: medium;"><img border="0" data-original-height="1030" data-original-width="3035" height="109" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe8fDpgMdlqq93j08tx7IczmQqHZ8aABr21cbww8C61m99ABMPycbXpGklXDTq12UTiXp07r3HabmjzBkiTchN9QrWP762jtNRX9CSN1U5YeuCZldiZGkkSTzmAUOwK3nMV14cOxgFvgpevO3JgVkElxyx-x4wQAKNP0j8sSadGCSv9l1ou0uX/s320/face%20experiments%20Nov%202023.jpg" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">printer paper experiments</span></td></tr></tbody></table><span style="font-size: medium;"><br /></span><p></p><p class="MsoNormal">best animal model designs, even from 30 years ago, and finding
the optimal size and colorations to make them with, again from the good paper
(2-5 hours each). ‘Good paper’ means for me Arches 300g pure cotton watercolor paper with a
mild grain: last week I finally bought a roll of this stuff at Uri’s Art
Supplies (Uri stayed open, yay!!) 130 cm by 970 cm, so paper size is no longer
a limitation. The material is so luxurious to handle, and as it dries
transitions through stages with distinct folding properties and a wonderful
solidity to the end-product. The plan is to get ready for a museum exhibition; details on that when things firm up. </p><p class="MsoNormal">And finally there’s this
scattershot origami teaching now, I go wherever the volunteers who are
arranging these things assign me in the neighborhoods. I got an unexpected burst
of joy on Thursday from teaching very tiny people—only two of the bunch had
made it to seven years old… Hamas did me the honor of welcoming me just when I
arrived at 4PM with some rockets to the skies right above—a pretty sight in the
late afternoon. (Taken out by Iron Dome; sorry, didn’t think to snap a
photograph). The little ones with their mothers all trooped out of the bomb
shelter and were folding away calmly with me minutes later. Gotta love ’em.<span style="font-size: medium;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><br /></span></div><span style="font-size: medium;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGWMrtGcGxVZoeHs_IiqplO0r2do2WWbiZjJB9TW9FlHBYTzRnVKxHrTxC1gJ-h0YzGAh-tY64s56oxT4RZjRyDoEUkUgDd1dWJP-jWlb_QP7FVjIdgUgVRs1wJLi7VQ8jHwnedFY6y9nURC_aeR6kOm7PDdNoSafI3PB7VtpL8Twrg4_90D3w/s2000/WhatsApp%20Image%202023-11-02%20at%2017.05.23_0ac3f697.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-size: medium;"><img border="0" data-original-height="1500" data-original-width="2000" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGWMrtGcGxVZoeHs_IiqplO0r2do2WWbiZjJB9TW9FlHBYTzRnVKxHrTxC1gJ-h0YzGAh-tY64s56oxT4RZjRyDoEUkUgDd1dWJP-jWlb_QP7FVjIdgUgVRs1wJLi7VQ8jHwnedFY6y9nURC_aeR6kOm7PDdNoSafI3PB7VtpL8Twrg4_90D3w/s320/WhatsApp%20Image%202023-11-02%20at%2017.05.23_0ac3f697.jpg" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"> success with butterflies by Sanja S. Cucek<br /><br /><br /></span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjmwVm3JXk3rlV-r614zuF1JWxGGSFGeXHABzmbvbwR76RzFafO272dD8yJKhyphenhyphen4aFVMJZgDMbODzFny79ZWTSU9NIZ7F19vdjcrbXGEQuNLEBEkYKenEWEl_lWbQrM1ZQAuaTydK3GBqY4vRDdEWkqfT_QW56UluR0Ijvbp4eFbXMbK7AXOkqd/s2000/WhatsApp%20Image%202023-11-02%20at%2017.05.22_26369af5.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="2000" data-original-width="1500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjmwVm3JXk3rlV-r614zuF1JWxGGSFGeXHABzmbvbwR76RzFafO272dD8yJKhyphenhyphen4aFVMJZgDMbODzFny79ZWTSU9NIZ7F19vdjcrbXGEQuNLEBEkYKenEWEl_lWbQrM1ZQAuaTydK3GBqY4vRDdEWkqfT_QW56UluR0Ijvbp4eFbXMbK7AXOkqd/w300-h400/WhatsApp%20Image%202023-11-02%20at%2017.05.22_26369af5.jpg" width="300" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><br /></span></td></tr></tbody></table><p class="MsoNormal"><br /></p>saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-23648148381761457962023-10-23T13:48:00.004-07:002023-10-27T04:41:54.347-07:00Folding Under Fire<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6GKIowd1twSqq63gMr3rNe_F6iTeuC1UaAT2hyphenhyphen73lkeGyXgrhhRVHiJ05KsoTztLp4QjPDm6R-qAe3AjZR8u3dnj3d_YSTJzmMhQZ2ADqPCKG5wxRXXQGo8N-sF-cc9IajQn1V0rGyqf1XEvY5JWycM5cB1EAXRV18g_mLZC_TovWIWxNzqff/s4080/IMG_20231023_140243.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3072" data-original-width="4080" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6GKIowd1twSqq63gMr3rNe_F6iTeuC1UaAT2hyphenhyphen73lkeGyXgrhhRVHiJ05KsoTztLp4QjPDm6R-qAe3AjZR8u3dnj3d_YSTJzmMhQZ2ADqPCKG5wxRXXQGo8N-sF-cc9IajQn1V0rGyqf1XEvY5JWycM5cB1EAXRV18g_mLZC_TovWIWxNzqff/w400-h301/IMG_20231023_140243.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><p><br />
</p><p class="MsoNormal"><span style="font-family: verdana;">It’s wartime here, like it or not; has been war in Ukraine & Russia almost two years now, will be in the China theater soon enough, and is coming soon
maybe to a theater near you. I’ve decided to revive my Origami Blog.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: verdana;">Here’s a Horse I made on Saturday. My best yet. From a model
first designed in 1993: so thirty years ago (have probably made a hundred), a design that’s since undergone three
permutations, including the one this week.</span><o:p></o:p></p>
<p class="MsoNormal"><span style="font-family: verdana;">Origami for me is: well there’s too much to say, but it’s
carried me through some hard times, went with me into the hospital in 2022 for
treatments to stage 2/3 cancer —mantle cell lymphoma — and out of that, for now.
In this war it’s acquiring a strange intensity. I’m dusting off old models and
designs: these ones are for soldiers, whiling away hours on the front; those ones are for me, to shed my emotions into as sculptures & go into museums later,
maybe, if this house-and-studio doesn’t turn into rubble.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: verdana;">It gives a calm; isn’t a screen to watch, or the scream of a
jet, wail of a siren, boom of a missile hitting concrete; is something to
return to after these & figure out: a puzzle with lots of solutions, but
few good ones. It teaches efficiency, economy, humility really, since it is
just a piece of paper for just this moment, no one is going to value it if you
don’t. Like your life.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: verdana;">I had this idea decades ago, when starting this Blog, that
people can no longer hear each other, that words have stopped being effective,
and images, videos, chattering heads, we already have too much of; our plastic
arts in the galleries aren’t cutting it anymore for communication, unification,
or for sparking us into action.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: verdana;">But origami — face it, doesn’t it electrify, when it’s good?
Doesn’t it get the pulse of my blood into the paper, and from there into
yours? Follow it along with your eye’s own fingers, and the heart that’s in
them, and the mind too of course. The geometry and the passion. Take them in, just
from the sight of a model, or if you’ve learned some paperfolding, <a href="https://drive.google.com/file/d/1DsJv7Ssh6XKi8WGEaGPKnzcZvAunSTOL/view?usp=sharing" target="_blank">make one of these for yourself</a>.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: verdana;">Let’s see if we can’t thrill you.</span><o:p></o:p></p><p class="MsoNormal"><span style="font-family: verdana;"><br /></span></p><p class="MsoNormal"><span style="font-family: verdana;">Saadya Sternberg</span></p><p class="MsoNormal"><span style="font-family: verdana;">Beersheva, Israel</span></p><p class="MsoNormal"><span style="font-family: verdana;"><br /></span></p><p class="MsoNormal"><span style="font-family: verdana;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-E5OeLZVvvUx1NscMn5e2UPXEe02HdzLal1D3hbnD2groqVl6D0iuRtmLLWAypFPpZ-59Gl8PlRy5RNVGgkXQm0kKTtYgbqTW7rKpzMcHhzXJNSjdX4Z0nENJicLLj9jwCHThS2RGnsFp2Wdet6K4sJyGkMpkhXr86y3dX5Z8KJSgxEJP2dN6/s4080/IMG_20231023_140310.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3072" data-original-width="4080" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-E5OeLZVvvUx1NscMn5e2UPXEe02HdzLal1D3hbnD2groqVl6D0iuRtmLLWAypFPpZ-59Gl8PlRy5RNVGgkXQm0kKTtYgbqTW7rKpzMcHhzXJNSjdX4Z0nENJicLLj9jwCHThS2RGnsFp2Wdet6K4sJyGkMpkhXr86y3dX5Z8KJSgxEJP2dN6/w320-h242/IMG_20231023_140310.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br />Origami Horse, by Saadya, 2023. <br /> 30 cm tall; stained & wetfolded from<br /> an uncut 91 cm square of Arches<br />cotton-rag watercolor paper. </td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span style="font-family: verdana; font-size: x-small;"><br /></span><p></p><br /><p></p>saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-52499411123928888662020-01-14T03:40:00.002-08:002021-03-14T11:01:33.997-07:00The Geometry of Expression<span style="color: #ffd966; font-size: medium;">Garibi | Saadya | Toledano</span><br />
<span style="font-size: large;"><br /></span><span style="color: #ffd966; font-size: small;">20 December 2019 - 8 March, 2020</span><br />
<span style="color: #ffd966; font-size: small;">EMOZ Museum, Zaragoza, Spain</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzbaP_fBEGMlfM1E5QU51mu0B24mpKuWhpQ-6m_I0vy29p4wt55hoKJ-kVqxa4sfEkYAB9Vh_LU1a1MM8dQfHygp9Nhr8qqh_86uqEEeDbW_y0EYGeWcHwPucsiWCm9Wne_6KGzA/s1600/IMG_20200109_174200.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzbaP_fBEGMlfM1E5QU51mu0B24mpKuWhpQ-6m_I0vy29p4wt55hoKJ-kVqxa4sfEkYAB9Vh_LU1a1MM8dQfHygp9Nhr8qqh_86uqEEeDbW_y0EYGeWcHwPucsiWCm9Wne_6KGzA/s400/IMG_20200109_174200.jpg" width="400" /></span></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigi7hn1el4pRNKwonaHWQPeGaMc4gojC92ZOiUH4in044WCK9OsbfmurjRuJMcqH-Gr2GCesN7EOy9uB1_UUhQB1HgDuXXN7lANCav72FEEf-f493ZepfoBF5FLyF0ODWliHHMHA/s1600/IMG_20200109_174102.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-size: large;"><img border="0" data-original-height="1600" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigi7hn1el4pRNKwonaHWQPeGaMc4gojC92ZOiUH4in044WCK9OsbfmurjRuJMcqH-Gr2GCesN7EOy9uB1_UUhQB1HgDuXXN7lANCav72FEEf-f493ZepfoBF5FLyF0ODWliHHMHA/s200/IMG_20200109_174102.jpg" width="150" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><span style="font-size: x-small;">Ilan Garibi, bracelets</span><br />
<span style="font-size: x-small;"> in wood, silver and brass</span></td></tr>
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<span style="font-size: small;">This is a sweet exhibition, </span><span style="font-size: small;">and it was a pleasure, despite the few bumps in the road, to get </span><span style="font-size: small;">to Spain to set it up. <b><a href="http://www.emoz.es/">EMOZ</a></b> is Europe's only museum dedicated to origami and one of the few such in the world. It's a privilege to work with the museum professionals there who devote their lives to displaying our art.</span><br />
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<span style="font-size: small;">With over 200 objects, the show's main theme is how one </span><span style="font-size: small;">edge of modern origami is seguing today into the realms </span><span style="font-size: small;">of design, fine art, </span>engineering -- <span style="font-size: small;">and the </span><span style="font-size: small;">questions this shift raises. </span>And the experiments,<br />
to address those questions, that we three Israeli<br />
exhibitors are making.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-vhT8OFnN1Hw/Xh2Vx3licCI/AAAAAAAAC7E/1dCJSFnn4IcE_XA8uusNHAQhl8Wc51nngCEwYBhgL/s1600/IMG_20200109_174217.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="200" src="https://1.bp.blogspot.com/-vhT8OFnN1Hw/Xh2Vx3licCI/AAAAAAAAC7E/1dCJSFnn4IcE_XA8uusNHAQhl8Wc51nngCEwYBhgL/s200/IMG_20200109_174217.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><span style="font-size: x-small;">Saadya Sternberg, "Red Bust"</span><br />
<span style="font-size: x-small;">paperfold sculpture</span><br />
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For instance, what happens when the folded material is NOT paper — how is this to be done technically; how does it look; what is the relation <span style="font-size: small;">with paperfolds; can the </span><span style="font-size: small;">results ever be “fashion design” or “fine art; can this</span><br />
<span style="font-size: small;">new sort of </span><span style="text-align: center;">folding-work start acquiring </span><span style="text-align: center;">value in the marketplace and shake off origami's </span><span style="text-align: center;">reputation of being a pastime and “sweet nothing”<span style="text-align: start;"> — </span>while not losing all its fun... And so on.</span><br />
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<span style="font-size: small;">So <a href="https://www.garibiorigami.com/"><b>Ilan Garibi</b></a> brought his origami-based </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvuWVA7dcBEPvUthrSC2dRpGtG6-QFb4Ia4lPCK5HVXbTJMvHxkGZUhCgaanRxNL0c0dfNP1ZXYN-jx_5K1w9CjxxktaLxJcd7LWo8z_QZwqA5DKyRzcfpmaZEYJTaH_prnLby2Q/s1600/IMG_20200109_171719.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-size: small;"><img border="0" data-original-height="1600" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvuWVA7dcBEPvUthrSC2dRpGtG6-QFb4Ia4lPCK5HVXbTJMvHxkGZUhCgaanRxNL0c0dfNP1ZXYN-jx_5K1w9CjxxktaLxJcd7LWo8z_QZwqA5DKyRzcfpmaZEYJTaH_prnLby2Q/s200/IMG_20200109_171719.jpg" width="150" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><span style="font-size: x-small;">Ynon Toledano,</span><br />
<span style="font-size: x-small;">"Reincarnation series"</span><br />
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<span style="font-size: small;">jewelry and sculptures in folded steel, brass, silver, wood and glass (there's even paper); </span><span style="font-size: small;">and Ynon Toledano </span><span style="font-size: small;">brought his “surrealistic” things, and Yours Truly Saadya Sternberg brought those head sculptures with minimized lines, meant to prompt old art-history questions about surface and line and emerging form. Lots of color and light and life in this space.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">I also devoted one wall to some of my geometrical-mechanical discoveries, and especially to recent work done with my students at the Shamoon College of Engineering of Beersheva. There's a video of these inventions that for now I'm displaying only in the exhibition; once the show is down I'll post it for those who could not come.</span><br />
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<span style="font-size: small;">If you are in Europe, come see the things in person </span>—<span style="text-align: center;">“face to face.”</span><br />
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<span style="font-size: small;">Cheers</span><br />
<span style="font-size: small;">Saadya</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnEHU_tmOZ5riqkbOjVzJRVaU2E3c1FqXDoLQM0qQpzxzbPqLjPZMQWupOpKZpD6EPqayzKg9hve7t1Ivl8u4W2GPJv33zHvG8Oh9-ZPpBDVAybGUCi5sYhkJ1oo3P8rbiQCsU3g/s1600/Saadya+%2526+Ilan+Garibi+%25282%2529.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="592" data-original-width="1600" height="147" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnEHU_tmOZ5riqkbOjVzJRVaU2E3c1FqXDoLQM0qQpzxzbPqLjPZMQWupOpKZpD6EPqayzKg9hve7t1Ivl8u4W2GPJv33zHvG8Oh9-ZPpBDVAybGUCi5sYhkJ1oo3P8rbiQCsU3g/s400/Saadya+%2526+Ilan+Garibi+%25282%2529.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rear: Ilan Garibi, Tessellations wall, paperfolds and folded-metal pendants<br />
Front: Saadya Sternberg, "White Molly", paperfold sculpture</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Saadya Sternberg, "Mohawk", paperfold sculpture</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-7q_UiIQ1jdU/Xh2Y7w7Iu-I/AAAAAAAAC8Y/pyszeaLOWKsTzTWeIUphqX9ugeRMq0kewCEwYBhgL/s1600/IMG_20200109_173944.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://1.bp.blogspot.com/-7q_UiIQ1jdU/Xh2Y7w7Iu-I/AAAAAAAAC8Y/pyszeaLOWKsTzTWeIUphqX9ugeRMq0kewCEwYBhgL/s320/IMG_20200109_173944.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ilan Garibi, origami pendant, gold-plated brass<br />
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<tr><td class="tr-caption" style="text-align: center;">Saadya Sternberg, face study, wet-folded leather<br />
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<tr><td><a href="https://1.bp.blogspot.com/-84WMeMNKPUU/XjNVmWF0l1I/AAAAAAAAC_M/sayzo0fDi4MLZT8oHagqzL78MvtWamf8ACLcBGAsYHQ/s1600/ynon2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="830" data-original-width="1077" height="245" src="https://1.bp.blogspot.com/-84WMeMNKPUU/XjNVmWF0l1I/AAAAAAAAC_M/sayzo0fDi4MLZT8oHagqzL78MvtWamf8ACLcBGAsYHQ/s320/ynon2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: x-small;">Ynon Toledano, Surrealist Drama</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8mZ3CHaRDEKlyBDcGAxD5r7U7FW7h8yJUIJmI0fSsKIhW3O7lOn2JVAVFJqcYJeFMyk4UKJ6jdYKPwIw6WCV_4rCQj3Oia-0cnxNxOjpdETtX15B_iAQMVS9gN7_x9oquAbgMpA/s1600/19a-Giraffe+Head.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1511" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8mZ3CHaRDEKlyBDcGAxD5r7U7FW7h8yJUIJmI0fSsKIhW3O7lOn2JVAVFJqcYJeFMyk4UKJ6jdYKPwIw6WCV_4rCQj3Oia-0cnxNxOjpdETtX15B_iAQMVS9gN7_x9oquAbgMpA/s320/19a-Giraffe+Head.jpg" width="302" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Saadya Sternberg, Giraffe Head, paperfold sculpture<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-GLWynxNoAak/XjG7XYG65II/AAAAAAAAC_A/iTufIlyZqNEvsaemYMwtbbP5ZGxCjkBRACLcBGAsYHQ/s1600/Sarcophagus%2Bhi-res2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="976" data-original-width="1029" height="378" src="https://1.bp.blogspot.com/-GLWynxNoAak/XjG7XYG65II/AAAAAAAAC_A/iTufIlyZqNEvsaemYMwtbbP5ZGxCjkBRACLcBGAsYHQ/s400/Sarcophagus%2Bhi-res2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Sarcophagus" display: Ilan Garibi and Saadya Sternberg</td></tr>
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhimu67TjA-3LvNaDCUmNCpmhJ0H7Z7CyXdE6zRJ6z7uoaFOxfIoVFFYhRr0GnCd_jf4qRfJo3IVPnIrj_9T4SpM5CXbgVFwL63GEH0L2dMwviUeZelxXVuTuYQ_DtvwLn_cxNx4g/s1600/P1060130-2.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"></a><br /></span>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpTeKn-Ql76_vMCiufw4xaNDqA84V9P7XDwqstAKVVl7d_QLVuuFH3MG0O1Rzry25tFfTOO0KcauHe8HhiUaJq7ycoS6UkjECq8J5PEMWTPoB5mvtQcBLx28VbirEG0-6Mtrq1pQ/s1600/Sheet+Lion2.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: large;"><img border="0" data-original-height="1419" data-original-width="1600" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpTeKn-Ql76_vMCiufw4xaNDqA84V9P7XDwqstAKVVl7d_QLVuuFH3MG0O1Rzry25tFfTOO0KcauHe8HhiUaJq7ycoS6UkjECq8J5PEMWTPoB5mvtQcBLx28VbirEG0-6Mtrq1pQ/s400/Sheet+Lion2.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: x-small;">Saadya Sternberg, "Sheet Lion", paperfold sculpture</span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-_VW8J5twu0E/XjGAQNdLzmI/AAAAAAAAC-s/Dk6LCJyeMIMNhh6GhwJGHLle55MJhjomgCLcBGAsYHQ/s1600/1-Classical%2BHead.jpg" style="font-size: 12.8px; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1092" height="320" src="https://1.bp.blogspot.com/-_VW8J5twu0E/XjGAQNdLzmI/AAAAAAAAC-s/Dk6LCJyeMIMNhh6GhwJGHLle55MJhjomgCLcBGAsYHQ/s320/1-Classical%2BHead.jpg" width="218" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: x-small;">Saadya Sternberg, "Classical Head"</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNtJdVaUeiR1VJsGKEaz0FD9UVn0dnC_u0h0voxhPKAnCuC6SQ61Dmy9vS4cVuP-BGCbFGkdygTsNsLGtaqgz_7X-IOUxmVO1iy0ilFpWCcGrRdetXYz_1xS8CM8gMMfPxvZtPag/s1600/IMG_20200109_173821.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-size: large;"><img border="0" data-original-height="1600" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNtJdVaUeiR1VJsGKEaz0FD9UVn0dnC_u0h0voxhPKAnCuC6SQ61Dmy9vS4cVuP-BGCbFGkdygTsNsLGtaqgz_7X-IOUxmVO1iy0ilFpWCcGrRdetXYz_1xS8CM8gMMfPxvZtPag/s200/IMG_20200109_173821.jpg" width="150" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Ilan Garibi, Tessellation in folded steel</span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-WtZ8g73RegA/Xh2WyWL6BAI/AAAAAAAAC7o/KtmLME8yylQkuZyRCd--da1MzGU1jSXdQCLcBGAsYHQ/s1600/14-Robot%2Bimage.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="822" data-original-width="1469" height="179" src="https://1.bp.blogspot.com/-WtZ8g73RegA/Xh2WyWL6BAI/AAAAAAAAC7o/KtmLME8yylQkuZyRCd--da1MzGU1jSXdQCLcBGAsYHQ/s320/14-Robot%2Bimage.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Origami Robot by Dor Elmoznino and Ehud Yehiel, 4th-year students of mechanical engineering, Shamoon College of Engineering -- Beersheva</span></td></tr>
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<br />saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-71742725785059606022018-08-20T23:31:00.002-07:002018-09-19T19:13:20.045-07:00Life Imitates Art<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #783f04; font-size: xx-small;">Left: Still from the BBC's 2018-posted video. Right: my photo taken in 2007 of Roman Diaz's "Wild Horses"</span><br />
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The packages started arriving at my house, more than ten years ago, for the <a href="https://www.flickr.com/photos/sa2r9/albums/72157604693948737">big Tikotin Museum exhibit</a>. The mailman would ring at the gate and I'd leap. I can't tell you what a pleasure it is to get beautiful origami in the mail, gifts it seems like, every few days from some other corner of the world. Canada. Singapore. Spain. Vietnam! I'd cut open the carton, spread the things out on my table and ogle them. And from Roman Diaz of Uruguay--back then in 2007--came six paper horses with flowing manes and a striving look. There was no title; I gave his display the name “Wild Horses” and took the snapshot for my files. --This week I see, the BBC has been so kind as to stage a reenactment. It's a very great honor.<br />
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<a href="https://www.youtube.com/watch?v=vLRfj7ZZRpw">https://www.youtube.com/watch?v=vLRfj7ZZRpw</a><br />
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Have a great weekend<br />
Saadya<br />
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<br />saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-70749512844323690892017-09-28T17:02:00.002-07:002024-01-25T05:31:59.074-08:00Ashurbanipal<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYD-TZaEmjjUYtr7mR1Xug-NEgh0vmQjfFSL3GCI7xzx6U1wduX8fODUPceEC5r2gB1H1RQmtNTHlEeCgv74kaQZv4EDCzNxvxBHBhadhnBjOwOvNllaC6XSkM1KEcUuMuvywRPA/s1600/P1050236.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="811" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYD-TZaEmjjUYtr7mR1Xug-NEgh0vmQjfFSL3GCI7xzx6U1wduX8fODUPceEC5r2gB1H1RQmtNTHlEeCgv74kaQZv4EDCzNxvxBHBhadhnBjOwOvNllaC6XSkM1KEcUuMuvywRPA/s400/P1050236.JPG" width="202" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span face=""verdana" , sans-serif" style="color: #7f6000; font-size: x-small;">"Ashurbanipal", by Saadya</span><br />
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<span face=""verdana" , sans-serif" style="font-size: x-small;"><span style="font-size: small;">in the “</span><b style="font-size: medium;">Paper Heroes</b><span style="font-size: small;">” exhibition</span><br /><span style="font-size: small;">Jaffa Museum, Israel</span><br /><span style="font-size: x-small;">October 5 – December 30, 2017</span></span><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;">Curator: Ilan Garibi</span><br />
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<span style="font-size: small;">“<i><span style="font-family: "georgia" , "times new roman" , serif;">Strap your sword upon a hero's thigh...</span></i>” (Psalms 45: 4)</span></td></tr>
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This king is not my hero. He is, however, the hero of my hero.<br />
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My</i> hero is a Jewish poet who lived in the 7th century BCE in exile in Babylon, then moved to Jerusalem: one of the early Zionists. The poetry he wrote in both locations was to shape Jewish religious experience down through the ages, and many of his verses, whole and in fragments, have made their way into central portions of the Hebrew prayerbook. In their own day too they influenced contemporary Hebrew literary productions such as the Book of Jonah. Yes indeed: a hero of mine, all around.<br />
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<i>His </i>hero — for so he describes him in Psalm 45, a poem written for this king in the year 663 BCE, in Nineveh, on the occasion of his 'wedding' with the daughter of Tyre — was King Ashurbanipal: the last great ruler of the Assyrian Empire, and by his own account the first truly literate one, who<br />
<a name='more'></a>could read scripts in Sumerian and the older forms of Akkadian. Ashurbanipal's military conquests created an empire of greater geographical extent than any that had existed to date; he also assembled what was then perhaps the world's first great royal library. To that end he employed an army of scribes to collect and copy out ancient texts from temples of all the peoples that fell to his rule (a favorite being <i>The Epic of Gilgamesh</i>). One of those scribes, so I argue, was a young Jewish poet — my hero.<div><br /></div><div><div>Here are the texts in the Assyrian annals, paralleling the texts in psalm 45 that recount the same event, the taking posession of the "daughter of Tyre". Being able to identify the king in the psalm and the event described in it is what allows us (me) to give an exact date to the composition of this poem.</div><div><br /></div><div><b>Psalm 45</b> /// <b>Historical Prism Inscriptions of Ashurbanipal, Edition B</b></div><div><br /></div><div><i>Bat tsor</i> /// His [Ba'ali, King of Tyre's] daughter</div><div><i>Kol kbuda bat melech pnima</i> /// his heavy tribute [ka-bid-tu] I received </div><div><i>Betulot ahareha, re'oteha, muvaot lach</i> /// and his nieces he brought before me to be ladies in waiting.</div><div><br /></div><div>Some of the other idioms from earlier in the psalm are also similar from the Assyrian annals, e.g:</div><div><br /></div><div><i>Hitzecha shinunim amim tahtecha yiplu </i> /// Against Egypt and Ethiopia I sharpened my weapons and established my authority.</div><div><span style="font-size: x-small;"><br /></span></div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0jMksJ8aSXvNK8ZwfDeaknYq956n8SAcY0QXqB0QTzZSvExHDhsWsQtMxM082NnqDEXqSopWNYIO9e7gm4XFirhPKsyPvO4rrg1s3pWMoJYe7fWJ11X0jBnIEypkqVT8wrPp5n4SGaWQ69fAQ5quMvF0OfOTG9DcfaJQjdnx1a_wyEXpcQKOT/s750/ashurbanipal-lion-hunting-relief-1000.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="563" data-original-width="750" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0jMksJ8aSXvNK8ZwfDeaknYq956n8SAcY0QXqB0QTzZSvExHDhsWsQtMxM082NnqDEXqSopWNYIO9e7gm4XFirhPKsyPvO4rrg1s3pWMoJYe7fWJ11X0jBnIEypkqVT8wrPp5n4SGaWQ69fAQ5quMvF0OfOTG9DcfaJQjdnx1a_wyEXpcQKOT/s320/ashurbanipal-lion-hunting-relief-1000.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>"And your majesty: conquer, ride on ... Your arrows, pointed ...</i>" (Ps. 45: 5-6)<br />Ashurbanipal hunting on a horse with a stylus tucked into his belt. British Museum</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><br />Of course this parallelism is hardly decisive, if that is all there was. But it's an indication of being in the right “zone”, and one day, if I live, I'll spell out the whole bloody argument about the ten Bnei Korah poems and their unitary author and what was going on at the time.</div>
<br />Now back to this particular paperfold. Ashurbanipal's prowess and virility and might are beyond doubt and he was more than a capable scholar-soldier. Yet this man, like other great emperors before and since, like Cyrus and Alexander and Caesar and Napoleon, leaves me entirely cold.<br />
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I've depicted him in as stiff and as stylized a way as I could, in high relief, blending an origami aesthetic with a Mesopotamian one so as to echo in paper some of what was done in stone. And stylized those representations certainly were. Just as from the epithets and self-descriptions alone it can be hard to tell one Assyrian king from another who might have lived centuries before, so with some of the sculpted reliefs, it's as if all these rulers were born with the same rounded eyes & brows, sported the same hairdos and had the same blocky beards: every one of them patterned, evidently, to a template they thought divine. "For this, Elohim, your God, annointed you in oil of joy above your peers."<br />
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Saadya Sternberg<br />
August 2017<br />
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postscript (September)<br />
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I had the museum to myself for a few minutes during the day for delivering the artworks, and slipped into the Antiquities section to see how my “Ashby” stacked up against some of the old things there. The objects in the cabinets are from an earlier period (13th century BCE) when the empire ruling here was Egypt rather than Assyria, and “Israel” was the name of just one people among several then <span style="text-align: center;">flourishing in Canaan. Still I could not resist the juxtaposition.</span><br />
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Post-postscript (December)</div><div><br /></div><div>I made a few more studies in this series, all too late to make it into this show. Here's one that did make it into the Zaragoza museum (EMOZ) 2020 exhibit. </div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpyAbDu_mYoThqf6BbivFi1FxFsDrYA3Qj0ss9cI7UiCHB5O7a8yhA0wmU8RkyQcd0MSYVW8fAiNk3CChQRs6VS8arbDi1tlln2wAwFJPlm-9s5TarAGm9kC50eWjqBGXWZ5bpAgQ4jCepqu_X7g8z4BGc9NYJ492qveSwM1_DsWnpULoz5uJR/s3754/Ashurbanipal2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3754" data-original-width="1981" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpyAbDu_mYoThqf6BbivFi1FxFsDrYA3Qj0ss9cI7UiCHB5O7a8yhA0wmU8RkyQcd0MSYVW8fAiNk3CChQRs6VS8arbDi1tlln2wAwFJPlm-9s5TarAGm9kC50eWjqBGXWZ5bpAgQ4jCepqu_X7g8z4BGc9NYJ492qveSwM1_DsWnpULoz5uJR/w211-h400/Ashurbanipal2.jpg" width="211" /></a></div><br /><div><br /></div>saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-16256254513738164702017-07-10T14:05:00.001-07:002018-02-13T03:49:29.888-08:00"Press-Origami", by Masha Revva<div style="margin-bottom: 0in;">
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<b><span style="color: #f6b26b;">Origami Tessellations + Press-Prints on Paper</span></b></div>
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<b><span style="color: #f6b26b; font-size: x-small;">June 20 -- July 4<sup>th</sup>, 2017</span></b><br />
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<span style="color: #f6b26b; font-size: x-small;">Jerusalem Artisans Gallery </span><br />
<span style="color: #f6b26b; font-size: x-small;">(Beit Ot Hamotzar Hayerushalmi)</span><br />
<span style="color: #f6b26b; font-size: x-small;">12 Hebron Street, Jerusalem, Israel</span><br />
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This is a fine, understated exhibit by a
leading Israeli origami artist, strangely moving given that the
works in it are entirely non-figurative. It brings together
<i>tessellations</i>—tile-like patterns from folded paper, each built out of minute folds of a single, uncut sheet—with old-fashioned color <i>press-prints</i>. These too are on paper, made by passing the same kinds of folded objects under a heavy roller after inking. What's
surprising is that even though everything h<span style="text-align: center;">ere is pattern and
geometry, so much <u>emotion</u> manages to be conveyed: </span><span style="text-align: center;">even the specific feelings of nostalgia, hope, determination.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxfsSf2z_whcbdmz_icvhWISZp000ljaWijJbGZxMq86ZJV2zOsN8wO8rz8s2eBMyBJIjFTAkdfhqiERTs98_xz15Db8G-rYcaUft40EEUA_L5baecZ1Sec8Tz3cFMKbngOy7FeA/s1600/IMG_9255.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><br /></a>This is also a welcome departure from
standard origami exhibitions where one either displays arty-looking paperfolds or efforts to make
origami “practical” (fold-up solar collectors for satellites;
robotic wheels that expand, flat materials engineered to behave in
surprising ways). All as a way of “justifying” origami in the big
bad world, making it seem more of an adult activity. Of course that's a doomed
enterprise: audiences <i>want</i><span style="font-style: normal;">
origami to be childlike! But Masha's show is doubly doomed. For she
steps out of the safety of the cloistered origami world with its endless animals and patterns and polyhedra, puts up
something that's not practical in the least and that even verges on
the incomprehensible, and-- while showing origami that is doubtless
superbly crafted-- does so only in relation to another (perhaps lost)
art. Oh well, so we Embrace the Doom.</span><br />
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<span style="font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVEPhJO7z1P0aPCtkyl5pCs1XhmhTdNCqH8MAmiRg3OCa1ym8ptQn1c2UArX9C97h7LESs9QatHHpTqGD6N5z761JT-gbZ4JLRyDFe6f54ghmqWzz0peUBdeqBffKFj6zy2EXl5g/s1600/Garibi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="642" data-original-width="1080" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVEPhJO7z1P0aPCtkyl5pCs1XhmhTdNCqH8MAmiRg3OCa1ym8ptQn1c2UArX9C97h7LESs9QatHHpTqGD6N5z761JT-gbZ4JLRyDFe6f54ghmqWzz0peUBdeqBffKFj6zy2EXl5g/s400/Garibi.jpg" width="400" /></a></span></div>
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<span style="font-style: normal;">This
exact combination, tessellated origami + press-prints----just what
does it mean?</span></div>
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Of course it joins a field that says
“future” (for origami seems fresh, 'rationalistic' and forward
looking, in spite of its history --or the fact it seemed fresh and
forward-looking 500 years ago too) with an art that is visibly
traditional and if not quite passe today then at at least
'nostalgic', as the big old roller presses are largely retired from
the world, are set out in the fields to rust.</div>
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But there's more to it than that. <br />
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"Spiritual" is arguably the worst word in the dictionary to be stuck with as an aesthetic category, but in the case of this exhibit, what choice do we have?<br />
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Press-printed works and block typography have (now that this medium is in retreat, we can look back and say) an inherent dimension of “spirituality” simply in that not all of what goes
under the roller transfers its ink evenly. What comes through are
often “ghostly” traces, so that a print becomes, besides what it
displays, also a record of the event of the plate or the object's squeezing through: an imperfect
record like a memory. The partial lines, the spotty patches with the
white of the paper shining from behind give us a kind of past along
with the vividly encountered present.<br />
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Origami has a different kind of
spiritual potential. Its medium-- paper, tissue-like-- is ephemeral,
as life is, but also resilient up to a point, again as life is.
Unlike wood or metal or stone or plastic, paper “breathes”.
Paper sequentially folded further conveys an idea of
“mind” being impressed on matter: a design, a sequence of moves that yields just this shape, geometric or not. Actually the Mind that gets pressed-in is not just intelligence or cleverness: the folds are put there by touch, so there's an element of Character in them too, of the individual folder's personality.
One senses the rigor needed in making thousands of folds so exactly; some
regions of a tessellation also show a flexibility. Did I say Doom? Then this is
determination in the face of doom.
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And then, because with origami the material is both uncut
and not joined-from-parts, any shape as given conveys the sense that
it might be undone, part-way or all the way back to flat, and then
redone, perhaps differently; with results subject only to the limits
of geometry and imagination (which constraints however are very
significant). The paper breathes: but the shape does also. In short: a
given origami object carries with it a cloud of possibilities, is
never quite final. It is present, but carries its futures right with it.<br />
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And now these two forms of “spirit”,
past-looking and future-looking, have been brought together, indeed one made by means of the other.<br />
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“Tessellations” literally means
tile patterns and this branch of origami follows a tradition that has been explored in ceramic tile especially in Central Asia and the wider
Middle East. In the Al-Hambra it reaches its apotheosis. Tiles and
their glazes are subject to erosion: if on floors then by feet, if
outdoors then by wind and rain. When they erode they have the effect mimicked in paper-prints -- of persisting while being timeworn, making venerable, a link to the ancestors. When Masha runs
these paperfold tiles through the press and then adds her little
riffs, she is returning to origami to its
origins in the decorative arts as we know them in churches, synagogues, mosques and
civic structures especially in this part of the world. It is a beautiful, sweet exercise in
preserving tradition while advancing and questioning it.<br />
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These ideas---I would like to see them
carried further. Today tiles are made using photo-etching and other
newer technologies: why not take photos of these prints and output
the PDFs onto actual tiles? (I know just the place for this: Ilana Bauman of Siman
She'elah Gallery, where OrigamIsrael exhibited in 2015, does such
printing on tiles or stone <a href="http://www.amir.org.il/ViewArticle.aspx?articleID=157" target="_blank">professionally</a>). And from the other side, for the origami
that is supposed to be living and breathing, that lightens the
heart—in the next iteration of this show I would would like to see, besides
the pieces flat on the walls, a few bowl-like tessellations; some wavy,
organic shapes sitting on stands without glass. The two ends of the snake will then be stretched out further, even as they are brought together.</div>
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Saadya Sternberg</div>
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July 2017<br />
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<tr><td class="tr-caption" style="text-align: center;">Tessellation artist Masha Revva</td></tr>
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<span style="font-size: xx-small;">Photographer Sasha Nurenberg embedded in a reflection of an origami tessellation. All photos in this article are hers. The tessellations themselves folded by Ms. Revva are largely interpretations of designs by various creators (credited in the exhibit), here including Shuzo Fujimoto, Roman Diaz, Eric Gjerde and Ilan Garibi .</span></td></tr>
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saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-80099585667486617132017-04-18T10:32:00.002-07:002021-08-04T05:26:43.624-07:00Israeli Origami 2: The Designer vs. the Sculptor<div class="p1">
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<span style="color: #ffe599;"><span style="color: #f6b26b;">Hankin Design Gallery </span></span><br />
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<span style="color: #f6b26b;"><span style="color: #f6b26b;">March 29 - May 5 2017</span></span><br />
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This show combines Ilan Garibi’s fabulous explorations of non-paper materials in his fashion and product design—all based on origami patterns he's invented—with my own efforts make original figure-sculpture from origami, mostly in paper but also in a few other types of material. Both of us think of ourselves as carrying origami into new precincts.<br />
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<tr><td class="tr-caption"><span style="color: #7f6000; font-size: xx-small;">Ilan Garibi with Ofir Zucker for Aqua Creations. </span><br />
<span style="color: #7f6000; font-size: xx-small;">Photo: Albi Serfati </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000; font-size: xx-small;">"Folding Squared: Israeli Origami", Beit Meirov Gallery, Holon, Israel, 2015</span><br />
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We’ve called the exhibition “Israeli Origami 2” in reference to a previous very successful show in a different municipal gallery in the city of Holon, in 2015. There we took a much broader look at the origami activity taking place in Israel today— an exciting range that includes not just the cute animals and pattern-art (those were there too) most people think of in connection with "origami" but also paperfolds in packaging, fashion, physics, commercial products, graphic arts, accessory-design, education... there was even a display for motorized paper-airplanes and an origami-themed music video.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Ilan Garibi</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Saadya Sternberg</td></tr>
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This time we’re being much more restrained. It’s just us two. But we're sharpening the focus on "extensions of origami", and this is, if I do say so myself, a very pretty small exhibit.<br />
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Ilan’s tessellation made with a single, very thin sheet of actual wood. Interesting how different it is from paper.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Saadya Sternberg, "Molly" (2006)</span></td></tr>
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My "Molly" (2006). A rectangle of paper (with a wood texture) is glued to stiff aluminum foil and scored to make the fold-lines, then folded via a "sculptural origami" technique.<br />
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The texture, color, and curve-fold tessellation nicely match Ilan's piece.<br />
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Nowadays Ilan is also making tessellations out of bronze. Below at right is a sheet that has been photochemically etched and edged. The acid eats away at the score lines; Ilan then folds the metal by hand along these lines to form the pendants.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Ilan Garibi, origami pendants</span></td></tr>
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If you zoom in on the center of the crease pattern on the flat piece of bronze--there's a small square--you can isolate a "molecule", a repeating element that is the basis of the tessellation.<br />
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<a href="https://4.bp.blogspot.com/-HuhS-4ChiNE/WPCjN8BKn8I/AAAAAAAABUI/C1EOhJWS61kv_8kVtW7LjvOfXcQs5Yl_QCLcB/s1600/Jewelry-closeup%2Bwith%2BCP.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="152" src="https://4.bp.blogspot.com/-HuhS-4ChiNE/WPCjN8BKn8I/AAAAAAAABUI/C1EOhJWS61kv_8kVtW7LjvOfXcQs5Yl_QCLcB/s320/Jewelry-closeup%2Bwith%2BCP.jpg" width="320" /></a></div>
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Below is a bowl "folded" from just such an isolated molecule: this time, from glass!</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjki2aYem5Uc5q7SDR7qhPd4sqodXYdzyC9wAydJtDn9N3HCPdqdMmusem0zEZ1fOn1F-TtmlakcYhHnwg3fliO5J_3BDHs4fheVQdna9hA1cOB08b7mOHBtr9r789PVuuFO4BJg/s1600/IlanGlassBigger.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjki2aYem5Uc5q7SDR7qhPd4sqodXYdzyC9wAydJtDn9N3HCPdqdMmusem0zEZ1fOn1F-TtmlakcYhHnwg3fliO5J_3BDHs4fheVQdna9hA1cOB08b7mOHBtr9r789PVuuFO4BJg/s320/IlanGlassBigger.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Glassware, Ilan Garibi with Dani Calderon for the Gal Gaon gallery.</span></td></tr>
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Over the years I've wondered whether origami can be used to make "full sculpture". Sometimes this has meant going against an origami ethos, but it can also mean incorporating origami elements, in this case a tessellation for the hair, which, besides being pretty in itself, also allows the surface to be "collapsed" in two directions at once.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh30xaAAesOYAI0yYFd391Rh15n-rJ58UraS6TGa2_rGCRvEVS7_YPOwwIpqPNugZ3_uH1NRJcOsMJph62Z4NvUsO5K1XLMoomn0g1MUoBLyGO-QBY98_zt6Zg0FnSt4N_iy43uZA/s1600/Ernestine.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh30xaAAesOYAI0yYFd391Rh15n-rJ58UraS6TGa2_rGCRvEVS7_YPOwwIpqPNugZ3_uH1NRJcOsMJph62Z4NvUsO5K1XLMoomn0g1MUoBLyGO-QBY98_zt6Zg0FnSt4N_iy43uZA/s320/Ernestine.jpg" width="216" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #bf9000;">Saadya Sternberg, "Ernestine" (2006)</span></td></tr>
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It so happens that the tessellation for the hair--here and with "Molly"-- is related to the one Ilan is using in his bronze pendant (in mine the curves meet at points rather than at little squares). Ilan has certainly done a cleaner job of it with his jewelry: he is a tessellation artist. On the other hand, when I did mine circa 2006 I don't think anyone else was doing curve-fold tessellations yet...<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizpaHvovKVrAwESs12lbNcxtCSj2a0hVT03-W8_ynGHNk0LGonSZW0hF90Hvi2WmYaFmZMY8xvAO09vpakxhWFqgFaXxNgHgucleTQQeZDSs6QiT8FwWaGN4xKw838xk_CqVLjEA/s1600/SquareTessJewelry.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizpaHvovKVrAwESs12lbNcxtCSj2a0hVT03-W8_ynGHNk0LGonSZW0hF90Hvi2WmYaFmZMY8xvAO09vpakxhWFqgFaXxNgHgucleTQQeZDSs6QiT8FwWaGN4xKw838xk_CqVLjEA/s400/SquareTessJewelry.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Ilan Garibi, Tessellation-based jewelry</span></td></tr>
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More tessellation-based jewelry.<br />
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Exquisite--no? You can clearly see the potential of this. <br />
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All three pieces here are made using an identical "rotated-cube" tessellation--one of about 150 patterns that Ilan has come up with (so far)--with the "molecule" repeated outward to varying extents. In fact it is the same tessellation shown here in paper:<br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-p_hflUW-WG8/WPEbLOh-RPI/AAAAAAAABYA/PgABjFyRn6w6Q86mYEUzNgwK37ltVgYygCLcB/s1600/SquareTess-paper.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://3.bp.blogspot.com/-p_hflUW-WG8/WPEbLOh-RPI/AAAAAAAABYA/PgABjFyRn6w6Q86mYEUzNgwK37ltVgYygCLcB/s400/SquareTess-paper.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Ilan Garibi, rotated-cube tessellation: in paper and jewelry</span></td></tr>
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Ilan explains: "Two essential properties allow a
molecule to repeat itself serially in all directions: the edges of
the original sheet need to remain at the edges of the molecule; and
it must remain symmetrical, so that all four of its extremities are
identical.<br />
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If a molecule indeed meets these
criteria the formation proceeds in three stages.
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In the first stage the grid folds are
made: these divide the sheet into equal-sized tiles, mainly in powers
of 2: a 16-unit grid, a grid of 32, of 64, and rarely of 128 units.</div>
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The second stage includes the addition
of pre-creases, a long and arduous process. The most simple molecule
requires 4 pre-creases and the complex ones can require 16 and even 24
prec-reases. Given the fact that some tessellation patterns have 25,
36 and even 100 molecules, the number of pre-creases can reach into
the thousands.</div>
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In the third stage, all the fold-marks are
actuated. This is the “collapse” stage and it is where the
tessellation is formed. This is the most technical and difficult
stage."<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuSAzDXAOCBFzi4PsFtbfBxNbRHZBnJeSotGYlHCYjeqWXG9TyaOlNBx0x1ET0RI8YWPBgz8YJbejcCHmedGZa381S4m6DE5mUs8XycMhPDkNSiqZobPF-N_VQUTBgmMRXlOSa9Q/s1600/Tessellations+Bracelet.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuSAzDXAOCBFzi4PsFtbfBxNbRHZBnJeSotGYlHCYjeqWXG9TyaOlNBx0x1ET0RI8YWPBgz8YJbejcCHmedGZa381S4m6DE5mUs8XycMhPDkNSiqZobPF-N_VQUTBgmMRXlOSa9Q/s320/Tessellations+Bracelet.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Ilan Garibi, gold-plated bracelet, rotated-cube tessellation</span></td></tr>
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Ilan also points out that as a method of jewelry-making, the technique from origami he is introducing here has an advantage: a sheet of metal can be polished in its flat state, then folded--in some cases after electroplating in gold or other metals. Such polishing can't be done as part of any other kind of metalwork: not casting, not soldering, not hammering. With manipulations of a 3D surface you just can't reach all the indentations and crevices.<br />
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So much for metal and glass. Let's briefly get back to paper itself.<br />
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Paper has some unique properties for pattern art that can't be easily captured in other material. In particular: its matte surface; its stiffness with flexibility, its easy foldability and its partial translucency. <br />
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Here is a"Peacock Fan", from nicely translucent chromatography paper (donated by the botanist Allan Witztum):<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/_fyjfTXvl1A0/SP3I9mIrDsI/AAAAAAAAAeE/vWSIFfh20f8/s1600-h/PeacockTail4.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5259580900373106370" src="https://1.bp.blogspot.com/_fyjfTXvl1A0/SP3I9mIrDsI/AAAAAAAAAeE/vWSIFfh20f8/s400/PeacockTail4.jpg" style="cursor: pointer;" /></a></td></tr>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="color: #7f6000; font-size: x-small;">Saadya Sternberg, Peacock fan (2008). From a sheet of chromatography paper.</span></td></tr>
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This is the only non-figurative work of mine made from paper that I've kept in this show (only to confuse people who would think it was Ilan’s...)<br />
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At the time (2008) I was asking about differences--and possible interactions--between straight folds and curved ones; that investigation led to all sorts of <a href="http://origami-aesthetics.blogspot.co.il/2009/05/sphere-from-circle.html" target="_blank">interesting discoveries</a>. But I was also asking the following <i>aesthetic </i>question. The fan is one of the most ancient of all the shapes made by folding paper. It is certainly hundreds and possibly thousands of years old. Now, this ancient, beautiful, simple sunburst shape: what addition can be made to it, via folding, that complexifies it, but does not at the same time destroy its purity and hopefulness? And that somehow has not been thought of before...<br />
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More on the Peacock Fan <a href="http://origami-aesthetics.blogspot.co.il/2008/10/peacocks-tail.html" target="_blank">here</a>.<br />
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Ilan of course uses paper not to just make pretty patterns or answer philosophical questions, but complete products that end up being sold at high-end design venues. His preferred paper is called "Elephant Hide", and its translucency--along with, strangely enough, its fire-resistance--make it ideal for use in lamps.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiOinaVHXO1NBywLse6gL8zG6x3aQAIO4IA3C2GwER0rVx6BafAtVQ-Y1LwXk3EXq-Y7sEKkbj006Zp_4u-uic34IYkJC9_Y6Q1mHgzpEHdDz0pHuueZ3o0Pcql-Tl9Ea3Hglhng/s1600/96-molecules+Table+Lamp.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiOinaVHXO1NBywLse6gL8zG6x3aQAIO4IA3C2GwER0rVx6BafAtVQ-Y1LwXk3EXq-Y7sEKkbj006Zp_4u-uic34IYkJC9_Y6Q1mHgzpEHdDz0pHuueZ3o0Pcql-Tl9Ea3Hglhng/s320/96-molecules+Table+Lamp.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Ilan Garibi with Ofir Zucker for Aqua Creations. Photo: <span style="font-size: 12.8px;">Albi Serfati</span><span style="font-size: 12.8px;"> </span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-tmt69h4vIKg/WPZG9Auz2EI/AAAAAAAABis/OU3-6BLSBUoYusT5Z3gCFR5Nah_Cs2hJwCLcB/s1600/3%2Blamps.tiff" style="margin-left: auto; margin-right: auto;"><img border="0" height="130" src="https://4.bp.blogspot.com/-tmt69h4vIKg/WPZG9Auz2EI/AAAAAAAABis/OU3-6BLSBUoYusT5Z3gCFR5Nah_Cs2hJwCLcB/s400/3%2Blamps.tiff" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Ilan Garibi with Ofir Zucker for Aqua Creations</span></td></tr>
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Moving on. If paper is the medium, one can still work "against its grain" so to speak, reducing rather than augmenting the origami and papery aspects. <br />
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Here are some free-form pieces with art-history references, meant to elicit the reaction: <i>that's</i> from <i>folded paper?</i> (In fact they are from a paper + aluminum foil combo, but you get the point.) </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijAR5hiG9x5VLg9glpo6xtwOlWPnCE5BLt3izVnStwm_UcF4hBrafQBqPvd6wc6xzMtrNNpNOWSt3Rrtb241T43zaN8oP3JjqGGScN43aclQ0VzHtGzEelDin9g_rS6iI2OZtaVg/s1600/Spinster.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijAR5hiG9x5VLg9glpo6xtwOlWPnCE5BLt3izVnStwm_UcF4hBrafQBqPvd6wc6xzMtrNNpNOWSt3Rrtb241T43zaN8oP3JjqGGScN43aclQ0VzHtGzEelDin9g_rS6iI2OZtaVg/s320/Spinster.jpg" width="233" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">"The Spinster" (2004).</span><br />
<span style="color: #7f6000;">Homage to Chana Orloff.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwAm8DApffhcr9apEt1-L5_xnZb5DwrozF3IqcoSLJpxHw8fRgLUvY_5ehAGyB0rVx0mSkPedpVRS-XQmjZSyQETyeSAyaybETxvGeYWvE4Kar4NFZjjUsF7dnJmIdESeoUSh9oA/s1600/Leonardo+with+Triptych.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwAm8DApffhcr9apEt1-L5_xnZb5DwrozF3IqcoSLJpxHw8fRgLUvY_5ehAGyB0rVx0mSkPedpVRS-XQmjZSyQETyeSAyaybETxvGeYWvE4Kar4NFZjjUsF7dnJmIdESeoUSh9oA/s320/Leonardo+with+Triptych.jpg" width="185" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Leonardo's Self-Portrait, Origami (2004)</span></td></tr>
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If I'd had time I would have done another one of these for this show:<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj90GbE-bDdC_fsIQEJYmdX1DW2vGcHaXYjiCxzQpIcxYRy7zwXCDtAMb3yAguY1UCy5IRYB-azF2uv7d7DIh5RxycSpa3jtwkQ91AKIMj9IsPHUp0ejEtxnOQLeRpMZ0iTPih0mw/s1600/JarofMuses.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj90GbE-bDdC_fsIQEJYmdX1DW2vGcHaXYjiCxzQpIcxYRy7zwXCDtAMb3yAguY1UCy5IRYB-azF2uv7d7DIh5RxycSpa3jtwkQ91AKIMj9IsPHUp0ejEtxnOQLeRpMZ0iTPih0mw/s200/JarofMuses.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">"Jar of Muses" (2007)</span><br />
<span style="color: #7f6000;">Permanent Collection, EMOZ Museum, Zaragoza, Spain</span></td></tr>
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After making some of the above ‘freeform’ pieces from foil-backed paper circa 2004, I was challenged by some in the origami community if I could make something “expressive” and “figurative” out of paper alone, without relying on metal foil's easy-to-shape properties. Eventually I designed these bearded faces from ink-rubbed Canson watercolor paper.<br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-5vMgAFYzFG8/WPZhYfZzNXI/AAAAAAAABkM/xtJQ7Ezcpe4ABkH9jEPgrpO5wnFcAei1ACLcB/s1600/Hana%252B3heads.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="243" src="https://3.bp.blogspot.com/-5vMgAFYzFG8/WPZhYfZzNXI/AAAAAAAABkM/xtJQ7Ezcpe4ABkH9jEPgrpO5wnFcAei1ACLcB/s400/Hana%252B3heads.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="color: #7f6000;">Saadya Sternberg, 3 Bearded Faces (2011)</span></td></tr>
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The bearded faces are “origami” not just in the sense that each starts from a flat rectangle and is folded into shape without cuts. Elements from origami's iconography are also being incorporated into the design. In particular: the zigzag for the eyebrows, the fan for the beard—these are not things a sculptor in another medium would know or care about.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEispb_Oj4fFBWIGOJtJ1Tl6v4RHoUByXyczEwax3l7WobFEBqrkdEgPwY3GdFdP2J-H550U3YHjZGIueggHzKNr8bXm4rF2nwsqxtnfYnOTb-0g9DgzKdsYsrkpCJOd5RoSQpd6oQ/s1600/2Beards-lr.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEispb_Oj4fFBWIGOJtJ1Tl6v4RHoUByXyczEwax3l7WobFEBqrkdEgPwY3GdFdP2J-H550U3YHjZGIueggHzKNr8bXm4rF2nwsqxtnfYnOTb-0g9DgzKdsYsrkpCJOd5RoSQpd6oQ/s400/2Beards-lr.jpg" width="400" /></a></div>
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To acquit myself of the challenge of representing a specific individual, I made one of these as a self-portrait.<br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-FgRYtmCgcMQ/WPSYZYVECPI/AAAAAAAABfg/UiZMmT3_X58Q1lXHeKAD6XLYUHkRLpmqQCLcB/s1600/Me%252BSelf-cropped.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="122" src="https://3.bp.blogspot.com/-FgRYtmCgcMQ/WPSYZYVECPI/AAAAAAAABfg/UiZMmT3_X58Q1lXHeKAD6XLYUHkRLpmqQCLcB/s200/Me%252BSelf-cropped.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Saadya as himself.</span></td></tr>
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Below the beards is "Hana" (2016). <br />
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I wanted to show off the idea of <i>continuity</i> in origami: a paper sheet gradually changing, by just a few bends, from its flat state into folded, nose-protruding objecthood. (A strip of paper unlike a square naturally invites the thought of a time-sequence).<br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-P-5d0Uv5PNA/WPOM-4Ie3sI/AAAAAAAABfM/04MqJItVYDIP7vyQOsk8_WuGvEcHfXLvgCLcB/s1600/Hana-good-lr.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://3.bp.blogspot.com/-P-5d0Uv5PNA/WPOM-4Ie3sI/AAAAAAAABfM/04MqJItVYDIP7vyQOsk8_WuGvEcHfXLvgCLcB/s400/Hana-good-lr.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="color: #7f6000;">Saadya Sternberg, "Hana" (2016)</span><br />
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I've maximized the contrast by bringing the two ends, the "before" and the "after" right up against each other: this changes the meaning of the flat part, which now can be read either as "base" or as "body" (actually both at once). I also wanted to bring out the essential property of a sheet, it's two-sidedness, by painting one side black: the origami metamorphosis causes the black to be read as "hair". Even the curl of the transition acquires a meaning: "the curve of the back of the head." All of the above simultaneously. And with the face being compelling as sculpture by itself, before any of the above gimmicks. Of all the works I've put in this exhibit I think this is the one I'm proudest of.<br />
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I'll come back to "Hana" later.<br />
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I mentioned origami's "iconography". One element in the visual repertoire of paperfolding is the <i>crease pattern</i>, the mark of creases on a sheet when it is unfolded (or perhaps when it is being prepared for folding). CPs have aesthetic appeal in and of themselves, and Ilan has decided to incorporate them in some of his fashion designs.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjIsLN8zwtEL9JDRr3cNICrqt6MSaIqzjBT-UVb49Lw1oKzA-yu3UAepasHRIe7bR3GYIRCHL2kTM32PmviAsyEg9SjQjHJS7stb0RmX3DINHyuDSKt2o9lJjAl6ocpVkFwlo_Xg/s1600/090+4X4+Paper+Cubes+on+1x1+Grid+gold+coated.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjIsLN8zwtEL9JDRr3cNICrqt6MSaIqzjBT-UVb49Lw1oKzA-yu3UAepasHRIe7bR3GYIRCHL2kTM32PmviAsyEg9SjQjHJS7stb0RmX3DINHyuDSKt2o9lJjAl6ocpVkFwlo_Xg/s320/090+4X4+Paper+Cubes+on+1x1+Grid+gold+coated.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Ilan Garibi, CP necklace. 4X4 Paper Cubes on 1x1 gold coated grid</span></td></tr>
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In these necklaces the CP is represented in flat metal filigree, and the object it yields is at the center in 3D folded metal, paper or wood.<br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-byA88H4vPBg/WPEl8O3gjXI/AAAAAAAABZA/qKIfgK24bRUd5-M1aqbfnZgQyR92oWKugCLcB/s1600/CPnecklaces.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="242" src="https://4.bp.blogspot.com/-byA88H4vPBg/WPEl8O3gjXI/AAAAAAAABZA/qKIfgK24bRUd5-M1aqbfnZgQyR92oWKugCLcB/s400/CPnecklaces.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Ilan Garibi, CP necklaces</span></td></tr>
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<span style="color: #7f6000; font-size: x-small;">"Gravida" (1999)</span></div>
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<span style="color: #7f6000; font-size: x-small;"> copper foil</span></div>
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<span style="color: #7f6000; font-size: x-small;">(not in exhibit)</span></div>
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As said, the subject of this show is the extensions of origami into other fields of design or art, in both our works over the years. But I'm the first to admit that Ilan's explorations of non-paper foldable materials have been way more rigorous than mine. That is: I’ve made some sculptures out of copper foil instead of paper; have explored possibilities of folding very stiff cardboard; and have experimented with bronze-casting my work.<br />
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<span style="text-align: center;">These efforts have all been successful, or at least enriching; but somehow not appropriate for this show. What I have</span><i style="text-align: center;"> </i><span style="text-align: center;">included here are the things from paper glued to thick aluminum foil (100 microns); one Horse wetfolded from corrugated cardboard; and a few studies in folded leather.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000; font-size: x-small;">Faces from folded leather, by Saadya Sternberg with Alon Mered, OakLeather Studio, Israel</span></td></tr>
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These were just "proof-of-concept" studies but they look very nice in the exhibition space. I plan to deepen the exploration into leather.<br />
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A few words about this material.</div>
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Leather can be wet-shaped, as paper can. (Drop the sheet into a pail of water with some dishwashing soap, let it soak overnight.) Indeed the technique which is only a recent adaptation for thick paper is actually ancient for leather. The leather solidifies into its form when it dries, more so even than wet-folded paper does.<br />
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One clear difference between these materials is that leather can be stretched while paper cannot. With leather, to make an area protrude out of the flat surface you typically bang it with a hammer from the other side into a shallow mold. Here, though, I am not taking advantage of leather’s elasticity at all. To make shapes that emerge cleanly from a flat surround--look for instance at the lips--I am relying entirely on origami techniques which force a local three-dimensionality. I think this is an innovation as a method of leather-work. There is only so much protrusion you can achieve by banging.</div>
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Besides faces and heads, I've included some "whole animals" too in this show--a small number out of many that I've designed over the years.<br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-lf_QCZcj5JY/WPZj9XA3XfI/AAAAAAAABkY/h2a1N2lTFHEkBJqo_D-xrs4pTg0toMB3QCLcB/s1600/Horseheads.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="257" src="https://4.bp.blogspot.com/-lf_QCZcj5JY/WPZj9XA3XfI/AAAAAAAABkY/h2a1N2lTFHEkBJqo_D-xrs4pTg0toMB3QCLcB/s320/Horseheads.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Saadya Sternberg, HorseHeads (2012)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-wZXzszctdrGGviJKzq-bDFeDiWYVjMC6pLu9D4ZdwqFbLGXZkgHVKrAn_tjshX75XlCyQkR9Vu36RR_jo4QLofiNOnSOCWaN8GAtXYwRxeCDL4T43TYQnQziGvJ0eTDcPWRK2A/s1600/3cows.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-wZXzszctdrGGviJKzq-bDFeDiWYVjMC6pLu9D4ZdwqFbLGXZkgHVKrAn_tjshX75XlCyQkR9Vu36RR_jo4QLofiNOnSOCWaN8GAtXYwRxeCDL4T43TYQnQziGvJ0eTDcPWRK2A/s320/3cows.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Saadya Sternberg, Holy Cows (2015)</span></td></tr>
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Indeed my background is in animal forms (I mean my origami background: I've also taught philosophy of biology and have thought about how specific features of animals have evolved). But for this show I wanted to make sure the animals work as sculptures in a traditional sense, and not rely on the "gee-wizardry" of origami for their appeal.<br />
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In practice that's meant reducing the number of hard fold-lines as far as possible and relying more on a few soft curves in the paper sheet. The curves add an emotional dimension, I think. The downside of all this is that viewers often ask: <u>T<span class="s1">his</span> </u>is origami??<br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-IwtG-8D9vx4/WPW_F4Eya1I/AAAAAAAABfw/rDRkmTB3zBEQyoKyAIrUyQYZ_4zicm2HACLcB/s1600/Birds-blueback.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="281" src="https://3.bp.blogspot.com/-IwtG-8D9vx4/WPW_F4Eya1I/AAAAAAAABfw/rDRkmTB3zBEQyoKyAIrUyQYZ_4zicm2HACLcB/s400/Birds-blueback.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Saadya Sternberg, Woodbirds (2016)</span></td></tr>
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The Reclining Lion, perched above it all.<br />
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="color: #7f6000;">Saadya Sternberg, Reclining Lion (2017). From a meter-long strip of Fabriano paper.</span><br />
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You can trace an outline of a figure with a pencil on a sheet of paper, or do the same in space with a coil of wire: another 1-D medium. I want to suggest that the equivalent can be done with a <span class="s1">2D</span> continuum, that is, a strip of flat material. Of course the twists and turns of a paper strip mean something a little different than a drawn contour-line does.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-CvdENXSuJT2ARHt-P74gPPIcWV77iCB6PLuMBC-LXVFgt8IjFRqoDjyQ00zV-1jg4hXxiZgB5teFv-QFw9qZWUINjeXpiBI72Cvp2sNowqbA0ctjcRcQpoQhV9mtP8R1pXxSwA/s1600/RecLionCloseUp.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-CvdENXSuJT2ARHt-P74gPPIcWV77iCB6PLuMBC-LXVFgt8IjFRqoDjyQ00zV-1jg4hXxiZgB5teFv-QFw9qZWUINjeXpiBI72Cvp2sNowqbA0ctjcRcQpoQhV9mtP8R1pXxSwA/s320/RecLionCloseUp.jpg" width="300" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyM9DkpQeqKyvgTbTKokM2KdmdCllhAaCmN-YMd5e6EzJcVrjQUSQ4TjjsQcxM8zHdAtpgLARbcVaquxXG_7PAIL8_0XBcWD7_6zVOsV2nrRs91x8U6pLpNMumYjzK4oaCc6gooQ/s1600/ChineseSmile.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyM9DkpQeqKyvgTbTKokM2KdmdCllhAaCmN-YMd5e6EzJcVrjQUSQ4TjjsQcxM8zHdAtpgLARbcVaquxXG_7PAIL8_0XBcWD7_6zVOsV2nrRs91x8U6pLpNMumYjzK4oaCc6gooQ/s320/ChineseSmile.jpg" width="210" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Saadya Sternberg, "Chinese Smile" (2016)</span></td></tr>
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Around 2012 I had the conceit, that it should be possible to make all the heads of “normal” animals via a single folding formula with minor variations for each type of animal. Just as the genes for these animals vary only slightly on top of a common pattern that guides their development. It’s been fiendishly hard to get this to work, but it actually does: even for humans, which are a kind of animal (one whose looks we are specially attuned to). So Hana (2016), the "Chinese Smile" (2016) and the Reclining Lion (2017) are all folded using a closely related folding concept.<br />
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The first implementations of this idea were in this trio of heads:<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_UOORZC3F9TyawW11CZIGvPnA35N9xEuOZrr5kMcT0fN4WQdDi6L1C5rOy68tyowLozxSvhNySd056JE9vLCYvho_xmCTl94JnSPwIGW47x7x9_ndG6Zf8QshNA_tK4rG8gTNFQ/s1600/3animalheads.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_UOORZC3F9TyawW11CZIGvPnA35N9xEuOZrr5kMcT0fN4WQdDi6L1C5rOy68tyowLozxSvhNySd056JE9vLCYvho_xmCTl94JnSPwIGW47x7x9_ndG6Zf8QshNA_tK4rG8gTNFQ/s400/3animalheads.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Saadya Sternberg, Three Animal Heads (2013)</span></td></tr>
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Let me now back up for a bit. This show was thrown together very quickly, when a co-exhibitor for a different exhibit with Ilan -- on fashion design -- backed out at the last minute. I'd always secretly believed I could pull off a "pop-up" exhibit, and that origami in fact is specially suited for just such immediate put-togethers. But the idea for this exhibit gestated for a lot longer than a mere few weeks. It was triggered back in 2015, when I saw how nicely our things went together in the larger group show of "OrigamIsrael" at the Beit Meirov Gallery in Holon.<br />
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Yet the works that did the triggering are not in this exhibit! They were objects made from paper, not the metal jewelry. Specifically these things:<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Ilan Garibi, framed paper tessellations (not in exhibit)</span></td></tr>
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<br />Including those works in this show--as maybe we would have done, if we'd had more time to think --would have added more color from Ilan's side, and also some of the "lightness" that only paper and paperfolds can bring. The heavier materials, the bronze and the wood and the glass do not lighten the heart the way paper can, even if they do show off origami-intelligence, exquisite craftsmanship and attention to detail. And--I speak from experience--it is the light-heartedness that brings the big crowds to the shows.<br />
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More color in the overall balance would also have allowed inclusion of a few items of Ilan's that we pulled on grounds that they were "too anemic":<br />
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="color: #7f6000;">Concrete "Palmas" vases by Ilan Garibi and Ofir Zucker</span><br />
<span style="color: #7f6000;">for <span style="font-size: 12.8px;">Gal Gaon Gallery (not in exhibit). </span><span style="font-size: 12.8px;">Photo: Ofir Zuker</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Ilan Garibi, Tavolini Trio, tessellated American walnut</span></td></tr>
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What this means: we’re just going to have to do this show again someplace, in a larger space, and put in these works too. <u>Museum directors</u> and owners of <u>commercial design galleries</u>--please take note.</div>
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Back now to what is present, rather than absent, today at the Hankin Gallery of Design.<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgy9KPIkN6ptUS53M4LiqbyPtomNNW4T23F0coPXDPX4YaQLPdMaopXestEbrjvi6WIvw043Odc_J3VpAq9wdkf60vlqbi1s9z5R3niOJ6mR5L2kh_Qt5Mnb5DJIZhe8vH67pqAg/s1600/3otherMonsters.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgy9KPIkN6ptUS53M4LiqbyPtomNNW4T23F0coPXDPX4YaQLPdMaopXestEbrjvi6WIvw043Odc_J3VpAq9wdkf60vlqbi1s9z5R3niOJ6mR5L2kh_Qt5Mnb5DJIZhe8vH67pqAg/s320/3otherMonsters.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="color: #7f6000; font-size: x-small;">Saadya Sternberg, "The Sleep of Reason Produces Monsters" (2016). After Goya.</span></td></tr>
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This installation comes fresh from the “Paper Creatures” exhibit at the Jaffa Museum (closed December 2016), a show Ilan curated.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;"> "Bela" from "The Sleep of Reason"</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">"Junior" from "The Sleep of Reason"</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">"Bat-face" from "The Sleep of Reason"</span></td></tr>
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On the computer one has the right to move objects around differently than was done in the gallery space.<br />
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So: look how nicely the bat-like creatures from this series go with Ilan’s dark and</div>
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brooding metal lamp.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaLYKzGbcFAkbic29-I5WzDUzNeagwjUG5VfibqH4rpbqWiFIZFiPxws7a60vG5tNuewPB6M-W3bmZFmKsvZposcBkIa0k8gep6-mxNMsS7AZaezsvn5h1MLnXS78flrRU3e8QuQ/s1600/MetalLamp.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaLYKzGbcFAkbic29-I5WzDUzNeagwjUG5VfibqH4rpbqWiFIZFiPxws7a60vG5tNuewPB6M-W3bmZFmKsvZposcBkIa0k8gep6-mxNMsS7AZaezsvn5h1MLnXS78flrRU3e8QuQ/s320/MetalLamp.jpg" width="222" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Ilan Garibi, Grooved Metal Origami Lamp</span></td></tr>
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Ilan notes that the fold-lines in the metal lamp are actually excised, since the material here is too thick to fold along lines that are merely scored. Left uncut are the “nodes” where more than two facets join: there the tiny bit of the metal of the original sheet is intact, and bent to support all the facets.</div>
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If we’re moving things around, let me put “Hana” next to a display that has some of Ilan's bracelets from tessellated metal and wood. And especially next to the flattish strip of wood that, in preparation for folding, has some geometric score-marks on it, making it look like some piece of ancient papyrus.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Ilan Garibi, bracelets from folded wood and metal</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Saadya Sternberg, "Hana" (2016), from folded Fabriano paper</span><br />
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I should first say that I've had Egypt on my mind, even before seeing in Jerusalem the glorious exhibit at the Israel Museum, “Pharaoh in Canaan”. People react to "Hana" I think a little like they do to a sarcophagus, with the long flat body part and the polychrome head angled forward like a mummy's. There is also a connection with Egypt in the very idea of a protruding shape that emerges from flatness and harmonizes with it, though obviously I am exploring this ancient idea in completely modern origami terms that were not available to the Egyptians.</div>
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One day I'd like to see this work displayed like the objects are in the “Israeli Mummy" room in the Israel Museum, a dark space with spotlights on the displays; and especially the way the gorgeous "Ibis" is presented there. Again, Museum directors and exhibit installation experts--take note.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Egyptian Ibis, at the Israel Museum</span><br />
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But it's interesting to me that Ilan's works too, absolutely fresh and modern, have this element of antiquity or tradition built into them. Shiny and clean and technologically modern, without a hint of the patina of age, they also could appear, almost, in a display of archeological findings from anywhere in the Middle East. Perhaps it is the materials, the bronze and the wood and the leather; or maybe it's the workmanship, the clean patterning of the folds, the detailed finishing. In the Israel museum, in the historical halls on Jewish weddings in Yemen or Iraq one finds ornaments with just this sort of aesthetic.<br />
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I don't know where this is coming from. Ilan's mother, I seem to remember is from Morocco, his father from Kurdistan--maybe that's it. But I've also seen a similar engagement of modernity with tradition in works of other artists from our OrigamIsrael group. Maybe this really is what an "Israeli origami" looks like.</div>
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saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-15155869889603298042016-11-07T06:09:00.000-08:002018-02-12T08:45:41.550-08:00Egypt in Origami<div class="separator" style="clear: both; text-align: center;">
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I went to see the fantastic "<a href="http://www.imj.org.il/exhibitions/presentation/exhibit/?id=1073" target="_blank">Pharaoh in Canaan</a>" exhibit now up at the Israel Museum in Jerusalem, which is both a historical-archeological show and a display of fine art, zeroing in on the period when ancient Egypt was the administrative power in the land where I'm living now. That was 3600 to 3200 years ago: a period that overlaps the Biblical account of the Exodus, with the two stories not always jiving happily.<br />
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What a wealth of forms and images are in this show! with “Canaanites” and “Egyptians” stereotypically depicted in the papyrus art, and the ceramic, stone and metal products of each culture and their cross-influences here. Also on display is the steele with the oldest Egyptian inscription where the name of “Israel” has been found, so far (circa 1209 BCE). It boasts, in reference to one of<br />
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<a name='more'></a>several minor states and peoples recently vanquished in Canaan:<br />
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“Israel is wasted, its seed utterly destroyed."<br />
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But it seems they did not catch quite all of us.<br />
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Yet it's really the art there that impressed me--and its potential relevance today, to origami specifically.<br />
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The Egyptian art of this and near periods was all about emergence from flatness, and you can see the different kinds of low relief and high relief climbing out of the stone, but also a retained interest in the smooth flat slab that was the origin of the carving—an interest which later cultures moved away from. (An interest in the stone origin not as surface but as raw massiness is explored most famously by Michelangelo in his <a href="http://www.accademia.org/explore-museum/artworks/michelangelos-prisoners-slaves/" target="_blank">supposedly unfinished</a> works). But we now have a new way to think of and do what the Egyptians did--<b><span style="color: #e06666;">emerge</span></b>--because a fold in paper isn't the same as a carved bend in stone even if the superficial result in 3D space can be the same. That paper which was surface is still surface, molecule for molecule. Where in stone there's a bend, in paper that same bend is also a hinge, and the mind plays with the possibility of its swinging--so there's a flex in mental space (possibility-space, form-making space) that doesn't exist equivalently in the older media. In the types of origami design that attend closely to geometry, the location of the fold is simultaneously a decision of the designer/folder and an implicit potential of the paper there ("<i>this </i>line, formed by dividing <i>that </i>angle in half," etc.), a consideration that does not exist in the "extraction" or "construction" modes of sculpture. In short the “dialog with original flatness” is different, I would say livelier in the case of origami than it was in Egyptian art. But there's also continuity and it's exciting that many of these same old issues can be reopened now with a new eye.<br />
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Of course the exhibit <i>is</i> of Egyptian (and Canaanite) art: so you have heavily stylistic representations competing and merging with realistic ones; cross-breeds of animals with heads and bodies swapped; and cross-gendered gods and kings. To some extent this exploratory freedom is paralleled in origami today as it starts to burst onto the scene of the genuine fine-art world. That fact is even more on mind having come just a few weeks ago from the “Paper Creatures” show curated by Ilan Garibi at the Jaffa Museum (about which I am committed to saying something soon) which has its own “mixed creatures” and explorations of the fantastical in paper.<br />
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Apart from all this---look how wonderfully pure that sculpture of the king/god Amun is. Look also how feminine! I would not have guessed a male king till reading the caption. The gender-bending seems to have been a preference in reality, an attribute of royalty, and not just some stylistic Egptian imagining.<br />
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It seems to me that origami contains the potential, and has the internal drive, for sculpture as pure, as clean as this.<br />
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It is within reach. I don't pretend to be there yet. But it should be possible, Yes — with origami too.<br />
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Saadya<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5lHIk2FaXw8O5Km-HzfHkdJMslioLtw6wKkCOjbrn0u5wk0yE71Mt8OqE8ZwTicKMX5wlt2Ik7fHP-ZgkPmssdDSRzvuLDZp1ADXpQaSqCYCNnDW98C71E2iRhBIBAnwv_Md34A/s1600/Mustard+face-lr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5lHIk2FaXw8O5Km-HzfHkdJMslioLtw6wKkCOjbrn0u5wk0yE71Mt8OqE8ZwTicKMX5wlt2Ik7fHP-ZgkPmssdDSRzvuLDZp1ADXpQaSqCYCNnDW98C71E2iRhBIBAnwv_Md34A/s320/Mustard+face-lr.jpg" width="248" /></a>saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-86156636243776233532016-10-04T23:44:00.000-07:002018-02-17T00:05:28.034-08:00Hana Hertsman<div class="p1">
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This work is in honor of Hana Hertsman, Managing Director of the Municipality of Holon, and Israel's premier builder of museums and cultural institutions in her city: the envy, and object of emulation, of other towns here and abroad. </div>
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Even with the tectonic shifts taking place in the design world and now in Israel's Design Museum as well, her past achievements and present powers are never out of sight, and will not be forgotten.</div>
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Saadya Sternberg</div>
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saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-88707256933671547372016-09-10T08:10:00.003-07:002018-08-21T00:11:38.015-07:00The Sleep of Reason Produces Monsters<br />
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="color: #7f6000; font-size: xx-small;">'Bela', by Saadya Sternberg</span><br />
<span style="color: #7f6000; font-size: xx-small;">at the "Paper Creatures" exhibit, Jaffa Museum</span><br />
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I'm just back from the opening of "Paper Creatures" at the Jaffa Museum. <b>Many magnificent </b>works there (about half origami) and much to think about--it will take me several days to ponder it all. For the time being here is an <a href="https://www.dropbox.com/sh/lqin3w9yzyn5vwc/AADOrwKJLvl8OC86YG-vDddva?dl=0">unsorted preview</a> of the few things I have decent photos of.<br />
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Meanwhile--I have pieces in this exhibition too, which if they do not lower the average level, certainly do not lead the works in it. As a place-keeper I'll just post here the text I wrote a few months ago that's meant to go with my display.<br />
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<b>The Concept </b><br />
"The city of Zaragoza, in Spain, is famous as the home of Europe's first museum of origami art. But it is also the birthplace of Francisco Goya: and while visiting there I saw a series of etchings of this artist -- a tour de force called "<a href="https://en.wikipedia.org/wiki/Los_caprichos">Los Caprichos</a>", with humans behaving like and turning into donkeys and other animals. In <a href="https://en.wikipedia.org/wiki/Los_caprichos#/media/File:Museo_del_Prado_-_Goya_-_Caprichos_-_No._43_-_El_sue%C3%B1o_de_la_razon_produce_monstruos.jpg">one image</a>, a handsome man falls asleep at his desk and behind him "monsters", bat-like and owl-like, arise ominously and take wing. I borrowed Goya's title and, leaving the social commentary behind (keeping just the fun) decided to do something comparable using origami.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQvFd1SeegaQp7VmyoxxPJjzz0cvS0VEMiVqTfuquFejVfzsAABNiS0PqE6pcNSLgcZyEZFKHC-K4Dl-gY39JR4nWm8t9BSRAm0jjhzeb6iDnhdYIKYpXHX4HOdmPUK11SRludOw/s1600/lr-Reason.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQvFd1SeegaQp7VmyoxxPJjzz0cvS0VEMiVqTfuquFejVfzsAABNiS0PqE6pcNSLgcZyEZFKHC-K4Dl-gY39JR4nWm8t9BSRAm0jjhzeb6iDnhdYIKYpXHX4HOdmPUK11SRludOw/s200/lr-Reason.jpg" width="133" /></a><br />
For most people origami-making is about repeating forms invented by someone else, with freedom of choice as to paper type, size, color, final shaping decisions etc. Original origami <i>design </i>is about thinking up the variations of geometry and sequence needed for new creations ("Reason": though hardly asleep). And in all cases you start from a flat sheet and by folds alone "evolve" it into something else.<br />
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If you combine all three of these ideas, you arrive at the concept of a <i>morph sequence</i>: one shape or model developing into another. In practice with figurative origami this has almost never been done. I wanted to see if I could pull it off.<br />
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<a href="https://4.bp.blogspot.com/-c8-z-ck3R7U/V9GzYXpC40I/AAAAAAAABNw/PdOa-QRJ2nw_5WPLhJudD1BkCJT1YJylACEw/s1600/lr-Bela1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="200" src="https://4.bp.blogspot.com/-c8-z-ck3R7U/V9GzYXpC40I/AAAAAAAABNw/PdOa-QRJ2nw_5WPLhJudD1BkCJT1YJylACEw/s200/lr-Bela1.jpg" width="133" /></a><br />
<b>Creatures </b><br />
"The premise of this exhibition, I did not at first entirely subscribe to. Origami's basic business seems to me to be with the natural, not the fantastical: all those paperfolded animals, humans etc. are meant to be related to as if alive, and <i>identification</i>--whether of detailed parts or essential features or gestures--is key to the fun of the viewer of origami. Also, all too often, gargoyles, mythical or deformed creatures are an excuse for a flexible hence lower standard of representation: what they really reflect are limits of the folder-designer's technical and artistic abilities. So I've kept myself tethered at one end to some sort of realism. As it turned out though, I was glad for this challenge to make a "monster" that does not know it is one! -- and carries on in our world with as much right, and poise, as any of us.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn3zCtgN_CeYO6qsX-VYcPogwkGKnhNEsd-aWLqqc364gn3Yw8SVoo01BgcihlKk3p9jGHunhyJGWY2_hlvr5CM2wkx1M4SoBQzhQz5J-QSxBd2-CMOVd1F7UxO8Epqh8sZGY9Ww/s1600/lr-Juvy2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn3zCtgN_CeYO6qsX-VYcPogwkGKnhNEsd-aWLqqc364gn3Yw8SVoo01BgcihlKk3p9jGHunhyJGWY2_hlvr5CM2wkx1M4SoBQzhQz5J-QSxBd2-CMOVd1F7UxO8Epqh8sZGY9Ww/s200/lr-Juvy2.jpg" width="133" /></a><br />
<b>Materials and Methods </b><br />
"The paper here is 160 gsm Canson mi-teintes, in assorted colors, rubbed with diluted ink and folded while damp. The technique of origami wet-folding takes a bit of practice (a lifetime's...) but also often needs repetition with the specific model sequence till the fingers can do it on their own. It's much like piano-playing: you do it twenty, fifty times and then it starts to get smooth. Your touch must be gentle and decisive: it is incredibly easy to ruin things by overwork and the paper must be neither too damp nor too dry. Also the sculpture must be made in one go,<i> al fresco</i>, so your design may not involve many steps. Done right the result is indeed a kind of frozen music, the paper transmitting to the viewer all the touches of emotion that went into it.<br />
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<a href="https://2.bp.blogspot.com/-RPqbvPqrZc0/V9GzbVFuXZI/AAAAAAAABNk/MnLjPouljgAp0jBxhhucrSK1GCH1bQ7VwCLcB/s1600/lr-Owlish.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://2.bp.blogspot.com/-RPqbvPqrZc0/V9GzbVFuXZI/AAAAAAAABNk/MnLjPouljgAp0jBxhhucrSK1GCH1bQ7VwCLcB/s320/lr-Owlish.jpg" width="211" /></a><br />
These creatures are all "pure origami": each is made from a single uncut paper square. (But...secret... while the faces are all about the same size, the squares are not!)"<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4vyv14U65f8iLxfn1b48Y8V0cwW29b9xnAoyztO2gcNn4gCXPICILFkNu1kEy6qToAql-EdZxe4RVpLjnEjKif2VvAYiBQ8JmFMh9ZUZqNW5D4L0UkusZLrUbtxh97jDz_jKy5A/s1600/lr-+Bat.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4vyv14U65f8iLxfn1b48Y8V0cwW29b9xnAoyztO2gcNn4gCXPICILFkNu1kEy6qToAql-EdZxe4RVpLjnEjKif2VvAYiBQ8JmFMh9ZUZqNW5D4L0UkusZLrUbtxh97jDz_jKy5A/s400/lr-+Bat.jpg" width="400" /></a><br />
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The above is what I wrote for the broad public (more or less). For you origami specialists I'll add the perfectly obvious point, that when designing one typically wants to maximize the independence of regions of the paper--the “limbs”--so as to end up with the greatest extension, freedom of movement, potential for expressive play and so forth. A head is a good thing to keep independent and typically it takes up one corner of the square, as it does here too. In this case, since all features of the face except the ears come from that one corner (not so common in origami faces), you have the possibility of keeping the face constant while “growing” the other features simply by taking different-sized squares to start with. I’ve done this whimsically and cheaply with crude ears-that-become-wings, but you could easily imagine much fancier metamorphoses of this type: hairy legs, elaborate feathered. wings starting to grow etc. Or a real evolutionary sequence.<br />
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I’m kind of surprised this hasn’t been done. Even the idea of “A turning into B” (for separate pieces, not in a continuous surface like a tessellation), has been done significantly so far as I know only by Giang Dinh---quite a few times but especially in his brilliant “Generations” series that includes the "<a href="http://origami-aesthetics.blogspot.co.il/2007/09/mother-and-child.html">Mother and Child</a>".<br />
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You can consider this a call to action…<br />
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I’ll point out too, that though this installation is a “morph” it is not exactly a linear morph with each object midway in features between the two next to it. Rather it is a “population morph” with, if you like, “recessive” features not all of which necessarily show up in the next generation. So, one creature grows into an Old Vamp, still sort of “human”; next to it is a “monster” but now a juvenile one with delicious skin. The red flying piece is becoming owl-like, the grey one bat-like (In the show itself the shelf they gave me did not leave room for the bat.) One piece shows off the most simple, child-like “face-painting” I could come up with from a square--keeping to 'minimal-line/impact' principles--and is made with a smile; it’s neighbor goes in for much more textured detail. Each is straining to become a different individual, I mean species; but they are all also constrained by the identity of the common pattern for their face. (And the dignified red piece at left, who represents "Reason", is not the progenitor of the sequence despite being on the highest dias---no matter what he thinks). This too I guess is some sort of statement about endless origami-making, about the ranges of variation and exploration one allows but also, crucially, the ranges of continuity and repetition that one holds oneself to.<br />
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Constraint!<br />
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Saadya<br />
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saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-76584461474849862962016-09-10T07:15:00.002-07:002018-08-21T00:12:54.711-07:00Aviva Green (till October 15, 2016)<div class="separator" style="clear: both; text-align: center;">
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If you care about high art--not just in its origami forms--and you like great splashing colors--and just happen to be in New York City this month----may I suggest that you RUN to see <b>Aviva Green's "Clouds, Canyons and Waterways"</b>, a show of paintings at Kenkeleba House.<br />
(Wilmer Jennings Gallery, 219 East 2nd Street @ Avenue B, East Village, 212 674-3939).<br />
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These are impressively powerful paintings but deliberately, I think, hard to put words to. For the aim is to express a definite mood without invoking fully definitive objects and scenes. That this actually works is quite an achievement.<br />
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And the show itself is exquisitely laid out.<br />
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The opening reception is on Sunday, September 18, but you can slip in for a quiet meditative preview now, without the crowds. That's how I like to do it.<br />
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If you weren't aware, this is also a plug for my Mom, Aviva Green, who is one
of the greatest colorists and mood-painters that I know.<br />
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Saadya<br />
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<br />saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-6116216258640454072016-08-16T03:09:00.001-07:002018-02-13T05:52:34.524-08:00Smiles of a Summer Night<a href="https://3.bp.blogspot.com/-eyZRLH7lGtU/V7LiaHHn9MI/AAAAAAAABLw/Q-UOFiSQu50-Qy8UPhaDVmouVATLIIC5ACEw/s1600/Chinese%2BSmile-lores.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://3.bp.blogspot.com/-eyZRLH7lGtU/V7LiaHHn9MI/AAAAAAAABLw/Q-UOFiSQu50-Qy8UPhaDVmouVATLIIC5ACEw/s1600/Chinese%2BSmile-lores.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Saadya Sternberg, "Chinese Smile"</span></td></tr>
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I have Ilan Garibi's "Paper Creatures" exhibit (upcoming at the Jaffa Museum--more on that soon), to thank for getting me back into the origami swing of things. This post's series of wetfolded cuties are not actually in the exhibit but are some of the later products of that swing -- which is ongoing. Smiles, S<br />
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<br />saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-10734124007309830062014-11-15T00:02:00.002-08:002021-03-14T11:02:20.484-07:00<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000; font-size: xx-small;">Saadya Sternberg, "Bird from window-ledge"</span></td></tr>
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And here are some more birds from the same series: a little later. These next ones were shown in the "Folding Squared" exhibit of OASIS, the <b>O</b>rigami <b>A</b>rtist<b>s</b> of <b>Is</b>rael, at "Siman She'elah" Gallery in Kibbutz Amir, Israel, December 2016.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000; font-size: xx-small;">Saadya Sternberg, "Woodbirds"</span></td></tr>
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<br />saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-77469227896845116192014-11-09T04:14:00.001-08:002018-02-13T04:12:04.292-08:00Bas Reliefs ("Emerging" Series)<div class="separator" style="clear: both; text-align: center;">
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These are all from uncut A4 sheets of cover-stock. And of the A4-- I'm only using the bottom edge, so that three of the paper's edges remain untouched (except of course for the consumed parts).<br />
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The aim is to have the face peer out mysteriously from the interior of the sheet.<br />
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Of course there's no law that says these have to be kept in their flattish state:</div>
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Cheers,</div>
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Saadya</div>
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saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-23397106541997710882013-11-02T04:38:00.000-07:002014-11-09T04:39:59.584-08:00<div class="separator" style="clear: both; text-align: center;">
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<br />saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-21137834979064328512013-08-14T07:15:00.001-07:002018-02-17T00:09:38.332-08:00Closed Head---Open Mind<span style="color: #ffd966;"><b><span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> A Reception of an Idea of Yoshizawa's </span></span></b></span><br />
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Origami can be done as a doodle—you pick up a scrap of paper, say the receipt from your recent <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNctXzZ1qK3V45oLi5XhtWbFdAq9xktVACNb_R8kspbRrb9OuFGPQWK88BsfFI2SKJbnyZZb_OBnpUe_wI4P7TX7Fhvi1wTe3zwbAr1HrHI3v-8y2U2djkipiPT4eHqCvefmmNlw/s1600/Receipt.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>shopping expedition, and play with it absent-mindedly at the outdoor cafe, bending it this way and that till it starts looking like an animal, all while waiting for the espresso to arrive.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNctXzZ1qK3V45oLi5XhtWbFdAq9xktVACNb_R8kspbRrb9OuFGPQWK88BsfFI2SKJbnyZZb_OBnpUe_wI4P7TX7Fhvi1wTe3zwbAr1HrHI3v-8y2U2djkipiPT4eHqCvefmmNlw/s1600/Receipt.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNctXzZ1qK3V45oLi5XhtWbFdAq9xktVACNb_R8kspbRrb9OuFGPQWK88BsfFI2SKJbnyZZb_OBnpUe_wI4P7TX7Fhvi1wTe3zwbAr1HrHI3v-8y2U2djkipiPT4eHqCvefmmNlw/s200/Receipt.jpg" width="138" /></a> <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNctXzZ1qK3V45oLi5XhtWbFdAq9xktVACNb_R8kspbRrb9OuFGPQWK88BsfFI2SKJbnyZZb_OBnpUe_wI4P7TX7Fhvi1wTe3zwbAr1HrHI3v-8y2U2djkipiPT4eHqCvefmmNlw/s1600/Receipt.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a>
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But you can also design origami deliberately, so that it will seem like a doodle. Here is a an extremely simple set-up that you can actually do with a grocery receipt:<br />
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I venture to say that you can make—maybe not ALL the heads of all animals from this start (with mild variations), but certainly a good many of them. A head that’s mounted on a long neck or a pole. With a bit of finessing you can squeeze out a good lower-jaw too.<br />
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<a href="http://1.bp.blogspot.com/-EL8-7rX6VkU/Ugve5W3Fp8I/AAAAAAAABFg/xhmN9oXWO88/s1600/Puma-s&l-lores.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/-EL8-7rX6VkU/Ugve5W3Fp8I/AAAAAAAABFg/xhmN9oXWO88/s200/Puma-s&l-lores.jpg" width="183" /></a><br />
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Since the set-up is so simple and the number of folds is small, you can do this with thick “artistic” paper too, like Canson Mi-Teintes, and preserve the unblemished, unbroken <a href="http://1.bp.blogspot.com/-EL8-7rX6VkU/Ugve5W3Fp8I/AAAAAAAABFg/xhmN9oXWO88/s1600/Puma-s&l-lores.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>expanse of the sheet, with all its glorious texture—letting the paperiness of the model shine. As I always like to do.<br />
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And then it will still be origami. But no longer just a doodle.<br />
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* * *<br />
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Now, this is a simple idea. But it didn’t
form itself simply, waiting for the coffee to arrive. There’s
actually a long back-story to it, really, a whole origami biography.
Which I’ll try to sketch out, for those who might like some chattiness
along with their pictures and espresso.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8wsuAXySIaB53UuyniVaL3R07OoqN6tYjb_a-S-CrS1WXLC8WPRvoFpNYxbkYmV0AHWsNLy3E_o7Eh7oSWoZaDdCuNhDulWAq4SLgJ07Ry_umyUavajbmYdPpVt5twmxmC65sfw/s1600/Giraffe4-s&l-lores.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8wsuAXySIaB53UuyniVaL3R07OoqN6tYjb_a-S-CrS1WXLC8WPRvoFpNYxbkYmV0AHWsNLy3E_o7Eh7oSWoZaDdCuNhDulWAq4SLgJ07Ry_umyUavajbmYdPpVt5twmxmC65sfw/s320/Giraffe4-s&l-lores.png" width="320" /></a><br />
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I got my start in folding as a boy in 1972: from Harbin’s “Secrets of Origami” and Randlett’s “Best of Origami”—books brought to me while convalescing in a hospital in Jerusalem for a serious illness. Those were pages filled with magic, from many authors, but the hovering spirit throughout seemed to <br />
me to be that of the mysterious Japanese giant Akira Yoshizawa; and when I started designing for myself 15 years later in Chicago (with CHAOS—the CHicago Area Origami Society in its first days) it was very much with him in mind as role-model. There was no question that in his hands origami could be a fine art, endlessly suggestive, expressive, technically masterful but never letting itself get swallowed by technique. For all that, Yoshizawa’s prickly prima-donna Japanese-master persona irritated me, and when he came near—as near as Detroit—I didn’t betake myself to meet him. That was youthful arrogance: it has its place, even if I kick myself for it now.<br />
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Life gallops on. I was studying aesthetics in grad school at the University of Chicago , then fled with my PhD to Israel. Things—eventually—advanced, both professionally/curatorially and origamiwise/artistically; in 2007 these combined and I was asked to put together Israel's first large-scale international <a href="http://www.flickr.com/photos/sa2r9/sets/72157604693948737/" target="_blank">exhibition</a> of origami art. This was at a prestigious venue—the Tikotin Museum of Japanese Art, in Haifa, which houses the largest collection of Japanese art in the Middle East.<br />
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It was obvious that I needed to have Yoshizawa works for this show, to give it <i>gravitas</i> and to anchor origami firmly in the public mind as an emerging <i>Japanese</i> art, even as it is also an international one. But it became even more obvious because of a rather fantastical coincidence. <a href="https://en.wikipedia.org/wiki/Felix_Tikotin" target="_blank">Felix Tikotin</a> from Holland, the late founder of this museum, and perhaps the greatest dealer in classical Japanese art in the 20th century—prints, enamel vases, swords, netsuke, and the like—also turned out to be (from a little research on my part, chasing a tip by Dave Brill) the key 'mystery man' who in 1955, had arranged Akira Yoshizawa’s first-ever museum exhibition: at Amsterdam’s Stedelijk Museum. This was also the first museum exhibition for origami as a fine art, anywhere. (Much new and exciting information on this episode, which centers on the figure of Gershon Legman, has been discovered recently by Laura Rozenberg.)<br />
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Soon I was holding actual Yoshizawa works in my hands. At first works from a “clandestine” collection that exists in Haifa; later “official” works lent to me from Japan for the exhibit through the kind graces of his widow, Mrs. Kiyo Yoshizawa in Tokyo, based on the lifelong gratitude which the Yoshizawas felt toward Felix Tikotin for the help in 1955.<br />
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This was tremendously moving for me. Some of those models were the very ones I’d caught glimpses of in the books by Harbin and Randlett as a boy. Now I could feel their weight and texture, study the dimpling touches. (And without the ‘white gloves’!) I have to say, primitive or not, these works were haunting to hold. The toughness of the paper I was not used to; one could not help but think of the resilience of the man who made them, and the toughness of the time: 1950s Japan, pulling itself out of the war years; and this man going door to door selling fish treats, while pioneering his craft and our field.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-124NBQRvMN4/UguFXdyWFKI/AAAAAAAABDo/lTon9eTMCTY/s1600/AY+Dogs2.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="262" src="https://2.bp.blogspot.com/-124NBQRvMN4/UguFXdyWFKI/AAAAAAAABDo/lTon9eTMCTY/s400/AY+Dogs2.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Akira Yoshizawa, "Dogs". Tikotin Museum of Japanese Art, 2007</span></td></tr>
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These were the first of several opportunities I’ve been given to study Yoshizawa’s works at close hand. Origami may well have advanced but I find there is still much to learn from him. For instance, notice the attention he gives to the <i>heads</i> in his animals. They are often wide—flat on top—3D like the rest of the body—and get slightly more detail (usually eyes, ears, mouth, nose, horns etc) than the rest of the animal does, almost as if the head were a model to itself. In the best works the head is smooth on top; in the less than best, where the paper joins there is a seam line that seems to be trying to stay hidden. This is the “head” equivalent of the now-known origami ideal of the “closed back” (of which, more below).<br />
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The curatorial side of things—my discovery of the historical “Tikotin connection” —kept on having ramifications in the present as well. Tikotin’s grandson who resides in Amsterdam was informed of this chapter in his grandfather’s career, and used his contacts in Holland to arrange a new exhibition there: Yoshizawa’s first one-man show in Europe since that 1955 one. It was held in May, 2011 at Leiden’s SieboldHuis JapanMuseum. Some images of this rare and magnificent exhibition of Yoshizawa animals can be glimpsed on <a href="http://www.flickr.com/photos/orihouse/sets/72157626681112524/" target="_blank">Paula Versnick’s Flickr site</a>.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNe4axwbc1-ifOKkd5s9xBTbF8xJQEOj-095iia0Ps5_8ORNp3nhJpdYvzoaLpN0H0VA2y1iSb0TD4tir4qvAyQQhe0mvqp3P5NV1HDfbHVYfnp6NK2WoYEWiPB3RqHaThjJupHg/s1600/AY+Camels=lores.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNe4axwbc1-ifOKkd5s9xBTbF8xJQEOj-095iia0Ps5_8ORNp3nhJpdYvzoaLpN0H0VA2y1iSb0TD4tir4qvAyQQhe0mvqp3P5NV1HDfbHVYfnp6NK2WoYEWiPB3RqHaThjJupHg/s320/AY+Camels=lores.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Akira Yoshizawa, "Camels". SieboldHuis JapanMuseum, 2011</span></td></tr>
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This show was curated and set up by Mrs. Yoshizawa herself, who came specially. The museum’s director was Kris Schiermeier, another high-powered individual (her previous job was Curator of Exhibitions at the Van Gogh museum in Amsterdam.) I was brought in to lend a hand with various aspects, including the wetfolding workshops. For these, I somewhat impetuously decided on teaching Yoshizawa’s signature Swan.<br />
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Trouble was—I couldn’t figure out how to make it! The version from a square, diagrammed in one of his books, did not give similar results. Eventually I learned that the “main” version of this model starts not from a square but from an<a href="http://www.youtube.com/watch?v=58GdBN4NWz8" target="_blank"> equilateral triangle</a>. But by then I had “reverse engineered” a Swan that starts from a square and ends up much like his triangular version, and it is that which I taught the poor unsuspecting students at the museum’s wet-folding workshop. (The first session was full of real folding pros—from them I heard no complaints.)<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh217IUUHFEamWlbkZvCAvOEkysu89q7592dXEfca9hrsdyZGM7YF6dt4EKArFnuy1VtJl_rDKZhc79RRvqjAVcsiOS5iaFv97RtTc60hvHE-mFlMKwjU17pSBgP7sm-8GHNc7i2g/s1600/Me+teaching.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh217IUUHFEamWlbkZvCAvOEkysu89q7592dXEfca9hrsdyZGM7YF6dt4EKArFnuy1VtJl_rDKZhc79RRvqjAVcsiOS5iaFv97RtTc60hvHE-mFlMKwjU17pSBgP7sm-8GHNc7i2g/s320/Me+teaching.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Saadya Sternberg, wetfolding workshop. SieboldHuis JapanMuseum 2011</span></td></tr>
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Before and especially after the workshops I studied this Swan, and continued to think about it.<br />
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It is one of three iconic models Yoshizawa had, and which he did not refuse to teach in public; the other two being his Butterfly and his Gorilla. The Butterfly is a masterpiece of transformative economy—a few baby-steps and you are <i>there</i>. Michael LaFosse has designed exquisite lepidoptera that are unquestionable improvements on his master’s, and are now his own signature models; but just as unquestionably—he will be the first to admit—they are not improvements in economy, in the ratio of ends to means. Indeed one would be hard-pressed to find anything that is, that gets so quickly from square to living thing with all parts in the right place.
Yoshizawa’s Gorilla is a consummate hybrid: a body that is very simple to make—a 6-year-old can do it—but then a head, which allows infinite weathering, experience, subtlety, a touch that only a master can give. A true sculptor, a Giang Dinh, can go to town with it, but no one else can. (Of course a true sculptor does not bother tweaking the head on top of a Yoshizawa Gorilla, but makes his own.)<br />
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The Swan continues with this thought of “simple models that allow infinite artistry”, but it is more complete. The origami aspects are meant to begin to disappear into a full sculpture. Yoshizawa kept finessing this model his whole life, striving for some sort of perfection in curvaceousness and grace.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZmQnwZzedK-sacVfWxNxEitSLhBMeaD3zFS6mVp2pK2n_NUC5D-lMLv6ED9y0DlQBOKLeQdCV2MroG4i0iNlBv3t7W_dZMLxM-lDb-J93XgV_NuskAbQwQlZsBGKJJn_Ke0HytQ/s1600/AY+with+Swan.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZmQnwZzedK-sacVfWxNxEitSLhBMeaD3zFS6mVp2pK2n_NUC5D-lMLv6ED9y0DlQBOKLeQdCV2MroG4i0iNlBv3t7W_dZMLxM-lDb-J93XgV_NuskAbQwQlZsBGKJJn_Ke0HytQ/s1600/AY+with+Swan.tiff" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">Akira Yoshizawa with Swan. SieboldHuis JapanMuseum, 2011</span></td></tr>
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This is the model that the Master taught Felipe Moreno in Zaragoza, Spain, for whom it has become a favorite. <br />
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Formally, it is still very much origami—quite a simple model actually.
But at the same time Yoshizawa seems to be seeking an opposite to origami: a
kind of maximum distance from it in a few short moves. Curves of
surface and line, for instance, rather than all-flat planes and
angularity. Likewise, the cut-edge of the paper is nowhere allowed to be prominent; where it does appear (at the
bottom of the wings) it faces down to the table, away from the viewer: that's a way of concealing the model's origins in a delimited paper sheet. The back of the neck is smooth and the front curls inward in multiple
layers--no cut edge seen, again--and in any case the forward bend of the
head above largely obscures the view of the join; so another, "ugly" artifact of origami animal models, the seam, is kept out of sight. Most notable is the
back, which is done without any sharp folds. The wings start out from the
sides—sufficiently far apart to give the model a noticeably wide, smooth
back. The reverse-folds making the tail and neck are kept soft. It is
clear Yoshizawa was already thinking fully about the concept of the <i>closed back</i>; even if many of his other models don't show this trait; and as usual thinking about it several decades before it reached wider consciousness among origami designers.<br />
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Consider the easiest way to make a swan. There is nothing simpler than to take a fish base, use its flaps as wings, its long points as head and tail. But that would put a severe split down the back, and leave the cut edge of the paper in the flaps face up. These would have been unacceptable for Yoshizawa.<br />
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Look for comparison also at how Ligia Montoya designed her Swan: a simple but careful construction which starts from a dart. Flat planes, gracefully spreading in back for the wings and tail. Not quite a closed back, yet not a fully open one. She sets the tone for flat origami, or more accurately, plane-based origami, which can also be 3D.<br />
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I used to think of this as a fundamental difference between the origami that was emerging in Spanish-speaking parts of the world and this other origami that Yoshizawa had pioneered. Today, I doubt whether this sort of distinction based on locality ever had much validity, and clearly with the global mixing effected by the Internet it is even harder to argue for. But even if this style of flatness’ did indeed influence the Spanish-speaking side of origami more than the rest of the world (along with maybe a certain increased “sociality”, that is, relatively clean folds and communicable steps), it doesn’t form a clean contrast with Yoshizawa’s heritage in any large geographic sense.<br />
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That is because the class of followers of his teachings seems to have shrunk. Who after all has absorbed them now? Joisel was certainly a great admirer of Yoshizawa's, but one can’t point to any direct teaching from him—unless it was some idea of the <i>whimsical</i>, which Joisel went after in completely his own way. There is certainly Giang Dinh, who notably picks up the wet-fold (I would say more masterfully than his master) while doing away with the preliminary ‘base-forming’ steps which connect origami with its historical and its child-minded beginnings. There is Michael LaFosse and there is Dave Brill, each of whom clearly inherited some of Yoshizawa’s ethos. (Hard to define exactly how: a relative simplicity, or at least an admiration for it as ideal; and an appreciation of, a willingness to work sometimes with thicker, wet-foldable paper. Of course the fine-art leanings too.) And there is Stefan Weber, in some of his brashness and deftness, in the ad-hoc, discovered solutions which then get reworked through endless repetition into an instinct: a masterful flourish. —Are there others I am forgetting?<br />
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[Added: My mind indeed slipped. Dave Brill mentions (see his comment below) Alfredo Giunta and Max Hulmne; for gesture and economy of line I could add Lionel Albertino, and for curvaceousness and 'simplicity' perhaps Jozsef Zsebe. No doubt there are others too, it depends how widely one defines "influence".] <br />
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The above are, so to speak, “organic” receivers of Yoshizawa’s
teachings. But it is also possible to coldly isolate elements of his
logic and apply them. Last year I did an experimental series of “Bird
Volumetric Studies”, where I tried to make bird shapes using all and
only volume-creating folds (mainly angled crimps that end in the
interior of the sheet); these also serve as ‘ornamental’ folds, and
leave no superfluous lines, while enclosing the shape in least-wastage
volumes. The aims and approach are very different from Yoshizawa’s
(there are no simple set-up moves, it is 3D work from the git-go), but
the breadth of the smooth back is clearly important for the resulting
models, and that in its way reflects a concept of AYs. Perhaps the one he promoted with his Swan. <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-l6Uj8SZICBQ/UguN94FlY9I/AAAAAAAABFA/MCS2FVj8Vgo/s1600/White-pigeon-lores.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="183" src="https://4.bp.blogspot.com/-l6Uj8SZICBQ/UguN94FlY9I/AAAAAAAABFA/MCS2FVj8Vgo/s400/White-pigeon-lores.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #7f6000;">"White Pigeon", by Saadya Sternberg. From an uncut square.</span></td></tr>
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But now there are these heads, where I’m trying to borrow a bit more. The simple set-up; the thick, wet-foldable paper with very little layering; the scope that the design leaves to incorporate ad-hoc solutions; and especially--the broad smooth curving surface of the sheet, the "head" equivalent of the “closed back”.<br />
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More important still are the questions. How do you get origami to come alive? If there is, besides what is called "touch", some technical trick to this--like leaving a surface smooth, without sharp folds--what parts of the body is it really essential to do that with? The smoothness of the paper is a kind of visual invitation to stroking, suggests softness (even if the paper is up to 300 grams thick and fairly resilient). Is that a way to engage the viewer? To add to a model's "delicacy"? Or to its "simplicity"? Or to its ‘depth’ as art?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsn6ji-c21Mz_B_OnU07CkLoswWUxJGwQse09L91PMQNlOmKjhjCnJGj0fUOQW2af4yWmN98RewddpRusYwUecz7wFgu0QPlCIZCWYi1uIAS81iRNG7wgGYCI2PH-VYT1w0G0aYA/s1600/bambi3-s&l-lores.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsn6ji-c21Mz_B_OnU07CkLoswWUxJGwQse09L91PMQNlOmKjhjCnJGj0fUOQW2af4yWmN98RewddpRusYwUecz7wFgu0QPlCIZCWYi1uIAS81iRNG7wgGYCI2PH-VYT1w0G0aYA/s320/bambi3-s&l-lores.jpg" width="320" /></a><br />
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The continuation from Yoshizawa is a continuation of his
questions, not necessarily the answers he found, although these very often
point the way.<br />
<br />saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-44639123028415871172013-08-13T12:18:00.000-07:002013-08-14T12:24:28.654-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-QGqBl-jQPIM/UgvXjRbA_tI/AAAAAAAABFQ/BhMyl4muEDI/s1600/Flatfaces.png" imageanchor="1"><img border="0" height="285" src="http://3.bp.blogspot.com/-QGqBl-jQPIM/UgvXjRbA_tI/AAAAAAAABFQ/BhMyl4muEDI/s400/Flatfaces.png" width="400" /></a></div>
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<br />saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-35541998724714486362012-04-01T15:52:00.000-07:002018-07-17T06:19:52.303-07:00Horse Heads <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhNDPS48RMkTwnOow-7Q14Hdjg-ZbS8tQYJVkhHzxWt3jh8GdJHV_3MVy9GsKybQpYCMFxtgCClNPFHY6g4-6Htiv33IjVwEiZ2WyxvpWb3HiUkUaCzvs4PKW7JbW6HsjvpJXuuQ/s1600/HorseHeads-hand.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5711197061665227922" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhNDPS48RMkTwnOow-7Q14Hdjg-ZbS8tQYJVkhHzxWt3jh8GdJHV_3MVy9GsKybQpYCMFxtgCClNPFHY6g4-6Htiv33IjVwEiZ2WyxvpWb3HiUkUaCzvs4PKW7JbW6HsjvpJXuuQ/s400/HorseHeads-hand.jpg" style="cursor: pointer; height: 400px; width: 267px;" /></a><br />
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<b>Update July 2018: </b><br />
<b>Horse Head origami sculptures like these have been shown at the BETA International Fair in Birmingham (for the equestrian crowd there), at the Chi Mei Museum in Taiwan, and in art exhibits at the Beit Meirov and the Hankin Design Galleries in the city of Holon, Israel. I am pleased for all the attention via Pinterest.</b><br />
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<b>Enjoy the pictures! Horse lovers who wish to own the actual objects should contact me at saadyaorigami@gmail.com. </b><br />
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This turns out to be a very popular sculpture, with an appeal to horse lovers everywhere, both inside and outside the origami world.<br />
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I'm often asked often how I came up with it. The answer is basically what you would expect. I have several ‘full horse’ models that I'm still tinkering with (have been since 1989....). On one, the ears were unsatisfactory; so, in 2004 while out at a fast-food shop I did a blow-up-study focusing only on the head. That left excess paper, which got folded out of the way in overlapping flaps. The results—a little like barn or stable doors with the head peeking out—pleased me; and so, a <b>New Model</b>. Recently (2011), prompted by a fan who was enthused by just this shape, I picked the model up again and put much improved eyes & ears on it.<br />
<a href="http://www.lalouver.com/html/butterfield_09/inst03.html" style="font-style: normal;" target="_blank"></a> <br />
Now, the above is easy enough to say. But it also happens that during those seven years of gestation, the thinking in origami has progressed, and mine has along with it.<br />
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1. For instance: one of the obsessions now in origami design is the <b>color change</b>. Paper has two sides; if they each have a different solid color the folded model can have a single contrast of colors between them. A lot of design effort is presently invested in putting the color changes exactly and only where it is right for an animal. The pioneer of this sort of thinking is Neal Elias in the mid-20th century, whom I've written about <a href="http://origami-aesthetics.blogspot.co.il/2008/03/llopios-moment-of-truth.html" target="_blank">before</a>; its leading modern exponent is probably<a href="http://www.flickr.com/photos/12043525@N04/" target="_blank"> Quentin Trollip</a>.<br />
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But I would like to ask an even more primitive question. Is the limit here really only one contrast, for a sheet that has two colors on each side?<br />
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Notice that when a paper surface is curved (conically or cylindrically), the light reflects off it as a graduated shadow, which alters the hue in an eye-catching way. Then there’s another kind of shadow, created by pockets that drink up the light: these increase the contrast right at the lip of the pocket. So it is possible to design a model that takes advantage also of these <i>variations</i> to a hue. For each initial color, instead of just its hue-as-flat, you have now also the <b>hue-as-curved</b> and the <b>hue-as-pocket-shaded</b>; so six hues in total, or 14 possible contrasts. <br />
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Look again at these Horse-Heads and count how many I have used.<br />
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<a href="http://1.bp.blogspot.com/-o98En4ePAjA/Tj3Hu0iCIWI/AAAAAAAAA44/aAMKO1LoF48/s1600/Mid-Horse1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="font-style: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5637881915727028578" src="https://1.bp.blogspot.com/-o98En4ePAjA/Tj3Hu0iCIWI/AAAAAAAAA44/aAMKO1LoF48/s400/Mid-Horse1.jpg" style="cursor: pointer; height: 400px; width: 267px;" /></a><br />
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2. I’d been thinking about the role of the <b>closed back</b> in origami. What makes it preferable for an origami animal to have a smooth, unbroken layer of paper at its back—rather than a seam of folded layers which come together along the spine? Is that something about how we see an animal, or how we relate to an origami representation of one? I believe it was Yoshizawa who was first—as in so many other things—to notice this about origami animals; at any rate, many of his famous models take care to avoid the open backs used by many current designers (notably John Montroll), which are generally much easier to come up with. <br />
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Since the horse model I was studying had a closed back but still an ‘open head’, rather than a smooth surface across the ridge of its nose—this aesthetic fact was especially irksome for me, and I tried to deal with it in various ways.<br />
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Now, a join of layers along a central ridge, can usually be pulled apart to expose the smooth surface underneath. If this process is continued an ‘open back’ gives way eventually to a ‘closed back with folded ornaments alongside it’. How “eventually”? At what point does ‘open’ turn into ‘closed’? A series of experiments ensued.<br />
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The ‘exposed’ light-colored ridge of the Horse Head here, is one result. And my more recent work in Animal Heads takes even fuller advantage of these ideas.<br />
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2. <b>Simplicity</b>. There are so many meanings of this term in origami. The champion of one kind of simplicity is—again—Yoshizawa, in his iconic Butterfly (of course not all his models are exemplars of this quality). And there the term just means, that in a very few steps, you get a change of form, a metamorphosis from a simple square into the distinctive shape of Lepidoptera, with the parts all in the right place. Nowadays there are much fancier Butterflies flittering about—Michael LaFosse’s, and a nice antennaed variation by Robert Lang—but none come close to Yoshizawa in Value for Money: results for the number and ease of moves involved.<br />
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How to bring this idea up to date?<br />
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My model is not nearly so simple, coming in at just under 20 moves. But it is still simple for the striking results. The relatively minimal manipulation of the paper, is apparent in the smoothness of the resultant sculpture.<br />
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But I achieved the economy by a different method than Yoshizawa’s. The number of steps were minimized by trying to have each accomplish <i>several things at once</i>. The following won’t mean much to those who haven’t made this model (and I’ve taught it so far only to a few groups and individuals), but:<br />
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<li>The same 2 folds that form the dip of the nose, also directly create the nostrils</li>
<li>Just one rabbit-ear makes both the (incipient) eyes and (the incipient) ears</li>
<li>The move that bends the head off the neck, narrows the ears too</li>
<li>There’s a ‘triple-ripple’ on the mane, but it’s actually made by adding a single crimp to what’s already there</li>
<li>The move to form the “stable doors” also creates the curve at the nape of the neck</li>
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and so on.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimgxggyDdn6ZVDSGkV_Xbnx_Z7okFUm3rb2SDMheS_MiCr5wOHqTwBINLTTXR6kRJ7Z31-icsMYB8-c9xaj4NyY4GVMl_Q_jr_BpN6qXc8PJ2Tv-i8e-EuMrgKOZnwBu7PIYWwcw/s1600/HorseHeadsAug19.jpg" style="font-style: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5642628038169957746" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimgxggyDdn6ZVDSGkV_Xbnx_Z7okFUm3rb2SDMheS_MiCr5wOHqTwBINLTTXR6kRJ7Z31-icsMYB8-c9xaj4NyY4GVMl_Q_jr_BpN6qXc8PJ2Tv-i8e-EuMrgKOZnwBu7PIYWwcw/s400/HorseHeadsAug19.jpg" style="height: 400px; width: 265px;" /></a><br />
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4. <b> Representation vs. Signaling</b>. Technical folding, while we’re at it, strives for increasing accuracy via an increasing amount of detail. This gets you the ‘wow effect’, but at the expense of the viewer not being able to follow the folds with his mind’s eye: a pretty big loss. And there are other costs. Here I wanted, in a relatively followable piece, to obtain the striking appearance not from fancy footwork and not from micro-representation, but from labor of a different kind: the labor of <i>looking</i>. Look at an animal and see what about it makes it most striking, most distinctively itself, most winsome to us, and capture that. A horse sticking its head out of a stall, almost asking to be stroked on the head—that is an animal <u>signal</u>, evolved among other things also in the relation that’s developed between equine and human. It is what works for us; it is designed to appeal. If you pay attention to these "g-spots", you can get your wow without having to go technical at all.<br />
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5. <b>How a Paperfold is Read</b>. Finally—this is a subject that Herman van Goubergen has made pretty much his own—some folds in a paper animal look like a head, others like eyes (sometimes when you don’t want them to), some like legs, etc. In short each bit stands for something else. You are always reading the model as..., seeing-it as.... --Can this be played with?<br />
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Of course the above description holds true no less for a bit of charcoal rubbed on paper or on a cave wall; or a bit of stone chipped this way or that. Art that <b>represents</b> has been with us at least 30,000 years. But somehow with origami the whole subject seems to be getting brought up for discussion again; maybe because of the ease with which you can flip a fold or move it slightly and have its significance change; but I suspect also because of the speed with which the mind is willing to hover over a model and read and then differently reread the tiniest indications. <br />
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Here it is perfectly clear that the light part of the paper is supposed to be the white patch which a horse sometimes has on its forehead; continuing in the same light color it becomes the mane, then wraps around and becomes the pillar, or the doors of the ‘stall’ out of which the horse is poking its neck. You <i>see</i> that the sheet is continuous, and you <i>know</i> that you are reading the two ends of it differently, and yet this doesn’t in the least obstruct your enjoyment of the work. On the contrary!<br />
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Not quite an optical illusion, but maybe an optical teaser.<br />
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<a href="http://1.bp.blogspot.com/-pAFay7UGcAY/TkT6J0tn0kI/AAAAAAAAA5w/TukSzGaqp-I/s1600/PairHorseHeads2.jpg" style="font-style: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5639907680050467394" src="https://1.bp.blogspot.com/-pAFay7UGcAY/TkT6J0tn0kI/AAAAAAAAA5w/TukSzGaqp-I/s400/PairHorseHeads2.jpg" style="cursor: pointer; height: 319px; width: 400px;" /></a><br />
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<b>Known Influences / Nice Images</b><br />
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A classic--the Selene Horse (<a href="http://upload.wikimedia.org/wikipedia/commons/9/91/Elgin_Marbles_162.jpg" style="font-style: normal;">here</a> and <a href="http://www.flickr.com/photos/21108304@N02/4290842829/" style="font-style: normal;">here</a>)<br />
Great shot of ponies <a href="https://www.dropbox.com/s/envgddkw7a4iweh/WildPonySwim.png" style="font-style: normal;">swimming and struggling to keep heads above water</a> <br />
Sculpture by Nic Fiddian Green, toiling out there in his studio in England<br />
And in a more abstract and modernist vein--equally great--Deborah Butterfield<br />
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<b>Exhibition History</b><br />
This model has been displayed at the 2012 Beta
International Fair (a Horse-themed trade show), in Birmingham, England,
and at the Italian and Spanish origami conventions in 2011 and 2012. Versions are currently on display at the Jerusalem gallery that
represents me. If you're in Israel, please stop in at: <br />
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Rakia Gallery<br />
18 Shlomzion Ha-Malka Street<br />
JERUSALEM<br />
02-502-3450<br />
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saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-35850106938400316132012-02-16T23:57:00.048-08:002018-02-17T00:03:27.129-08:00Equine Sculptural Origami<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrwqX5RznINGGhcsxmn5uH8wsj1lHgLFAOdHKrU1zo_SU8A8dhoQVmR_e_hP6ESlEgKSZmAHImGG65erdC8BImW5exZDbFdV4bxVUaz5lXoZ4HKp_5pTeqCp2J-tHUVMIRa92skQ/s1600/GallopingHorseBlue-s&l-lores.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrwqX5RznINGGhcsxmn5uH8wsj1lHgLFAOdHKrU1zo_SU8A8dhoQVmR_e_hP6ESlEgKSZmAHImGG65erdC8BImW5exZDbFdV4bxVUaz5lXoZ4HKp_5pTeqCp2J-tHUVMIRa92skQ/s1600/GallopingHorseBlue-s&l-lores.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrwqX5RznINGGhcsxmn5uH8wsj1lHgLFAOdHKrU1zo_SU8A8dhoQVmR_e_hP6ESlEgKSZmAHImGG65erdC8BImW5exZDbFdV4bxVUaz5lXoZ4HKp_5pTeqCp2J-tHUVMIRa92skQ/s400/GallopingHorseBlue-s&l-lores.jpg" width="400" /></a></div>
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<span style="font-size: 100%;">I'm writing this post on the occasion of the huge equestrian trade fair </span><span style="font-size: 100%;">going on this week in Birmingham in the UK. A few Horse-Heads of mine are on display there, very much like these:</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjywIzciMy6YF4rRNQOc21BuZ11HNqxjYQUHNVSX70FQ1e6DSNWie0EkQ_lvmvmd3hjno8k2J88ZiKQ1Q-HZMjFTIPFNnn3B-wtUEZ4w29nWrs7gILMWRjbSHFUvh0eg40ITenwxQ/s1600/HorseHeads2.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5711197035300715666" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjywIzciMy6YF4rRNQOc21BuZ11HNqxjYQUHNVSX70FQ1e6DSNWie0EkQ_lvmvmd3hjno8k2J88ZiKQ1Q-HZMjFTIPFNnn3B-wtUEZ4w29nWrs7gILMWRjbSHFUvh0eg40ITenwxQ/s400/HorseHeads2.JPG" style="height: 400px; width: 342px;" /></a><br />
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<span style="font-size: 78%; font-weight: bold;">"Horse Heads"</span><span style="font-size: 78%; font-weight: normal;">, by Saadya, Feb 2012. Uncut sheets of Canson watercolor paper are pre-inked on one side and folded while wet.</span><br />
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These are <b>origami sculptures</b>: that is, they obey the rules of the new game of origami (start from a single sheet, and make your shape entirely by folding, without cutting), while trying to stay true also to requirements of traditional sculpture (an older game with a lot more rules...)</div>
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The display at the fair is meant to draw attention to a neat invention by<span style="font-size: 100%;"> Josephine Unsworth--about which, more below.</span><span style="font-size: 100%;"> </span></div>
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<b style="font-weight: normal;"><br />HORSE EXHIBITION</b><br />
You visitors to the Birmingham Fair (and my regular readers too) might like to know that I am putting together a <b>museum exhibition</b><span style="font-weight: normal;"> </span>devoted entirely to horses and equestrian subjects. Besides my own things there will be work in it by some of the top origami designers in the world today. Origami is an entirely new medium for sculpture, with lots of potential for expressing an animal's personality, energy, soul --and a disarming magic that may be specially suited to the mysterious soul-bond we have with this particular beast. At any rate: it is unlikely you will have seen equine sculpture of this kind in person anywhere before.</div>
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<a href="http://4.bp.blogspot.com/-vRJLhmYbPEE/Tz4ZA3EMj3I/AAAAAAAABAE/8xo_m4lCy3c/s1600/B-04-Horse-Statues.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="font-weight: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5710028880124612466" src="https://4.bp.blogspot.com/-vRJLhmYbPEE/Tz4ZA3EMj3I/AAAAAAAABAE/8xo_m4lCy3c/s400/B-04-Horse-Statues.jpg" style="cursor: pointer; height: 204px; width: 400px;" /></a></div>
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This exhibit will travel, so if there's a museum or high-end gallery in your neighborhood that would be interested in hosting it, I'd be happy to <a href="mailto:saadya@saadya.net">hear from you</a>. (The same goes for my regular readers and interested visitors around the world: drop me a line.)</div>
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<a href="http://3.bp.blogspot.com/-2GdiIWWivFQ/Tz4ZBEimjSI/AAAAAAAABAU/mG9uSfHnYP8/s1600/B-02-Horses3.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="font-weight: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5710028883741805858" src="https://3.bp.blogspot.com/-2GdiIWWivFQ/Tz4ZBEimjSI/AAAAAAAABAU/mG9uSfHnYP8/s400/B-02-Horses3.jpg" style="height: 264px; width: 400px;" /></a><span style="font-size: 78%; font-weight: bold;">"Origami Equestrians"</span><span style="font-size: 78%; font-weight: normal;">, by Saadya,1992. From a square sheet of contact paper + foil. (Henkin Gallery of Design, Holon, Israel.)</span><br />
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A few years ago at the Tikotin Museum of Japanese Art (Haifa, Israel), I was privileged to be given the chance to assemble a <a href="http://www.flickr.com/photos/sa2r9/sets/72157604693948737/" style="font-weight: normal;">large exhibit of artistic origami</a><a href="http://www.flickr.com/photos/sa2r9/sets/72157604693948737/"> </a>which had as a centerpiece this magnificent series of galloping horses, by the great Uruguayan origami artist Roman Diaz. This is the caliber of the work that I am aiming for now. <i>Sculpture in origami, that can hold its own against anything done in any other medium, over the last 6,000 years. </i> Let those who think that "origami is just craft" go on with their chatter.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR__5BH05X_J96TiBil7x8tn_Vi2na5gcmsO1DVEuHzU6seVs8AoO6yM9mz9RvWRIgOzbOjj4A38kr2S6XhnBCFc7NsJ9LzrnJiUPJ0XypL3dQ3YWtjo8TiB3oJ7FX13obaOvCLw/s1600/O-06-Diaz-WildHorses.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="font-weight: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5710025527890523090" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR__5BH05X_J96TiBil7x8tn_Vi2na5gcmsO1DVEuHzU6seVs8AoO6yM9mz9RvWRIgOzbOjj4A38kr2S6XhnBCFc7NsJ9LzrnJiUPJ0XypL3dQ3YWtjo8TiB3oJ7FX13obaOvCLw/s400/O-06-Diaz-WildHorses.jpg" style="cursor: pointer; height: 190px; width: 400px;" /></a><br />
<span style="font-size: 78%; font-weight: normal;">Roman Diaz (Uruguay), "Wild Horses". (Tikotin Museum of Japanese Art, Haifa, Israel.)</span></div>
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Finally--a word about my "sponsor" this week at the Birmingham BETA International fair, the optician Josephine Unsworth, who has a terrific, horse-sensitive invention <span style="font-size: 100%;">she is launching there. It's a replacement for the blinders and nose-binds in use for centuries, that keeps a racehorse focused on the region in front of it (where it has stereoscopic vision) by making it peer through sort of goal posts positioned on the sides of its head. This lets the head and eye assume more natural positions, which means a less-stressed animal and in the end, a better racer. </span><span style="font-size: 100%;">I really liked the concept--</span><span style="font-size: 100%;"> </span><span style="font-size: 100%;">a whole new way of considering what and how a horse sees, what makes its vision comfortable--</span><span style="font-size: 100%;">and the thoroughness of the research that backed it up; w</span><span style="font-size: 100%;">hich is why I joined forces with her. And the product that </span><span style="font-size: 100%;">resulted is fresh, simple, well-thought-through: Just l</span><span style="font-size: 100%;">ike good origami.</span></div>
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<span style="font-size: 100%;">Wishing you a fun and prosperous fair</span><br />
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<span style="font-size: 100%;">Saadya Sternberg.</span></div>
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saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-67301226067580068692011-11-14T06:54:00.000-08:002013-10-16T03:04:22.262-07:00"Eyeball" series<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNiXTMnpPTpKBKFuFuxJQlsaxRVxMI1ZRXTzDu8eRTNnMmgljUn7wqT0SSsEQYNUvEU75M2egmUaeGWIDW2cpJ3OLSicAdMtEQrRI5qHfMU_1xKa1uDLLUpsifpJBMecQC4UCfbg/s1600/GZ2a-s.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5674865124517453394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNiXTMnpPTpKBKFuFuxJQlsaxRVxMI1ZRXTzDu8eRTNnMmgljUn7wqT0SSsEQYNUvEU75M2egmUaeGWIDW2cpJ3OLSicAdMtEQrRI5qHfMU_1xKa1uDLLUpsifpJBMecQC4UCfbg/s400/GZ2a-s.jpg" style="cursor: hand; cursor: pointer; height: 400px; width: 263px;" /></a><br />
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Starting out, I did not intend this to be a self-portrait. But I'm told now that this is not a conclusion I can exactly avoid....<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJNuCPfXL1NK-zNcGLF2s_Ma-PskEl1jo2X0tmroJmfMSLmqWxBqaWzkRd79ONBe-33oi6Bir5eJ1bWBPKuvwyGZk6zeMjttkPK2D_yyRencwGn8eLR77QcdVNIlmZVM8WKelRXw/s1600/015-Me+Self-cropped.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJNuCPfXL1NK-zNcGLF2s_Ma-PskEl1jo2X0tmroJmfMSLmqWxBqaWzkRd79ONBe-33oi6Bir5eJ1bWBPKuvwyGZk6zeMjttkPK2D_yyRencwGn8eLR77QcdVNIlmZVM8WKelRXw/s320/015-Me+Self-cropped.jpg" width="320" /></a></div>
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You be the judge.<br />
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Anyway. So, I figured out how to do eyeballs properly from origami, and now am going crazy putting eyes on everything.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicePxethlkHnII48xz668uTUkYeK0jx_DHXCDI3H3MqDS8O7QqOaImvEO3x55lSMxp1bHrkDfMvPz5ZWG6HmIaMe_S8stFdwk70hNsm4ZSi87CiY0G-3u3eemMqnS1ITXmrli2eg/s1600/Eyeball-s.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5674907698459799234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicePxethlkHnII48xz668uTUkYeK0jx_DHXCDI3H3MqDS8O7QqOaImvEO3x55lSMxp1bHrkDfMvPz5ZWG6HmIaMe_S8stFdwk70hNsm4ZSi87CiY0G-3u3eemMqnS1ITXmrli2eg/s400/Eyeball-s.jpg" style="cursor: pointer; height: 267px; width: 400px;" /></a></div>
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Note the <b>magnets</b>--the lozenge-shaped thingies. I use those on the 3D surface in places where clips can't reach, to hold layers together as the misted paper dries. (The paper is pre-treated with methyl cellulose and a light ink rub, so it stiffens up nicely.) --Anybody else do this?</div>
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Cheers!</div>
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Saadya</div>
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saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-49663847789271090702011-11-10T05:56:00.000-08:002012-01-07T11:16:49.057-08:00Chameleon<div><br /></div><br /><div>the first chameleon I've ever seen in the wild in Beersheva, I saw this morning climbing the Etrog tree in my garden</div><div><br /></div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBWJIPBTNTAQ-0RBWjAWc0vEmE6kFPEaI4ijinZC74pj8EW85V1GvGdkZsQGyqKoC4VEPD-ybA0UPj0GKDAVHz5zvKIRXcyKg8Y178quFgE06YNiz8AYBXV2mz7nfXbVQovX5Y3A/s1600/Chameleon-climbing.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBWJIPBTNTAQ-0RBWjAWc0vEmE6kFPEaI4ijinZC74pj8EW85V1GvGdkZsQGyqKoC4VEPD-ybA0UPj0GKDAVHz5zvKIRXcyKg8Y178quFgE06YNiz8AYBXV2mz7nfXbVQovX5Y3A/s400/Chameleon-climbing.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5689696671323824706" style="cursor: pointer; width: 315px; height: 480px; " /></a></div><div><br /></div><div><br /></div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBWJIPBTNTAQ-0RBWjAWc0vEmE6kFPEaI4ijinZC74pj8EW85V1GvGdkZsQGyqKoC4VEPD-ybA0UPj0GKDAVHz5zvKIRXcyKg8Y178quFgE06YNiz8AYBXV2mz7nfXbVQovX5Y3A/s1600/Chameleon-climbing.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a>a healthy young specimen---</div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6cKqUMAL-PLS_L3bMPoJtVvk0JVQejRbNMTkyPE8CUbbDlMvbWZi1OqPGAu6tnhr_4UsfUFdUNN7XBIZIY-NWnfcmfAnsoiv1cujNZdKti0HB6ZbcprMxkGtM80u4G3pcrB1HAg/s1600/Chameleon-horizontal.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6cKqUMAL-PLS_L3bMPoJtVvk0JVQejRbNMTkyPE8CUbbDlMvbWZi1OqPGAu6tnhr_4UsfUFdUNN7XBIZIY-NWnfcmfAnsoiv1cujNZdKti0HB6ZbcprMxkGtM80u4G3pcrB1HAg/s400/Chameleon-horizontal.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5689696919171689106" style="cursor: pointer; width: 400px; height: 267px; " /></a></div><div><br /></div><div><br /></div><div><br /></div><div>naturally I confronted him with an unfair comparison</div><div><br /></div><div><a href="http://1.bp.blogspot.com/-apKLxy0HRBI/TvXhGvA3rGI/AAAAAAAAA-U/r54DkJHDNv8/s1600/Chameleons-confrontation.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img src="http://1.bp.blogspot.com/-apKLxy0HRBI/TvXhGvA3rGI/AAAAAAAAA-U/r54DkJHDNv8/s400/Chameleons-confrontation.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5689701210068069474" style="cursor: pointer; width: 400px; height: 206px; " /></a></div><div><br /></div><div><br /></div><div><br /></div><div>he was utterly speechless</div><div><br /></div><div><a href="http://3.bp.blogspot.com/-HVAKssHuF6M/TvXgCn293LI/AAAAAAAAA98/7O82uo-MJw8/s1600/Chameleon--speechless.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img src="http://3.bp.blogspot.com/-HVAKssHuF6M/TvXgCn293LI/AAAAAAAAA98/7O82uo-MJw8/s400/Chameleon--speechless.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5689700039916379314" style="cursor: pointer; width: 400px; height: 179px; " /></a><br /><br /><br /></div>saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.comtag:blogger.com,1999:blog-30250464.post-19642441688871940222011-09-03T06:25:00.001-07:002012-02-18T06:45:36.590-08:00New Paper Heads<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjioY61jtgTXBPin4Fdo97wZvyCRNvf4mz1UUqwRPKKgiz9af8aPm1i98D9RzHHMg7IDgXD1_DbEdB1gH7MtNv25gV3oaKHvTBGm79sicsyzHG9kCbW9Xyzndjqh-x0u4RmXtxhVg/s1600/FanBeard.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="cursor:pointer; cursor:hand;width: 256px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjioY61jtgTXBPin4Fdo97wZvyCRNvf4mz1UUqwRPKKgiz9af8aPm1i98D9RzHHMg7IDgXD1_DbEdB1gH7MtNv25gV3oaKHvTBGm79sicsyzHG9kCbW9Xyzndjqh-x0u4RmXtxhVg/s400/FanBeard.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5650575775701955906" /></a><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjioY61jtgTXBPin4Fdo97wZvyCRNvf4mz1UUqwRPKKgiz9af8aPm1i98D9RzHHMg7IDgXD1_DbEdB1gH7MtNv25gV3oaKHvTBGm79sicsyzHG9kCbW9Xyzndjqh-x0u4RmXtxhVg/s1600/FanBeard.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><br />A few heads showing off some of the latest technology. All are folded from uncut rectangles of paper --grays Canson, greens Fabriano--pretreated with methyl cellulose and a light ink wash, then wet-folded. The beard-nose-mouth is a construction mostly worked out six months ago; the eyebrows and "wheat-sheath" motif I came up with in the last few weeks. Enjoy -S<br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5m1WPkXBGSybET7T-h5hggEGt1A2CqOvT9bs0IhwY_rKzaOK0kbiXNonpRu0aq1wL7PKWLkoBd9trgSEtXdRqbVUEYp2_SBAMpnWFwNN2CVDOm48-Ak0CHTSFjMt-NCEpXk6pjg/s1600/FanbeardO-lores.jpg"><img style="cursor: pointer; width: 267px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5m1WPkXBGSybET7T-h5hggEGt1A2CqOvT9bs0IhwY_rKzaOK0kbiXNonpRu0aq1wL7PKWLkoBd9trgSEtXdRqbVUEYp2_SBAMpnWFwNN2CVDOm48-Ak0CHTSFjMt-NCEpXk6pjg/s400/FanbeardO-lores.jpg" alt="" id="BLOGGER_PHOTO_ID_5648875898390875442" border="0" /></a><br /><br /><br /><br /><a href="http://2.bp.blogspot.com/-GWuqWhJ3Mtw/TmTWtA3rPlI/AAAAAAAAA7k/G_MnfynbUCQ/s1600/GreenCyl-lores.jpg"><img style="cursor: pointer; width: 295px; height: 400px;" src="http://2.bp.blogspot.com/-GWuqWhJ3Mtw/TmTWtA3rPlI/AAAAAAAAA7k/G_MnfynbUCQ/s400/GreenCyl-lores.jpg" alt="" id="BLOGGER_PHOTO_ID_5648875901445422674" border="0" /></a><br /><br /><div><br /></div><div><br /><a href="http://2.bp.blogspot.com/-xgDYcCWoP2o/TmTWs3444-I/AAAAAAAAA7U/1TUzkaZIe_o/s1600/H-ManO-lores.jpg"><img src="http://2.bp.blogspot.com/-xgDYcCWoP2o/TmTWs3444-I/AAAAAAAAA7U/1TUzkaZIe_o/s400/H-ManO-lores.jpg" alt="" id="BLOGGER_PHOTO_ID_5648875899034592226" border="0" style="cursor: pointer; width: 267px; height: 400px; " /></a><br /><br /></div><div><br /></div><div><br /></div><div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeFB07AePJUWocLB6igiRqNng8jsyH7qjg9S81HjcotJaVtDqh472_uxAoUWGnV0gTnQlfKjnyrbVyvkEO9sZlUZqSFG-w7duGvjZJDECqZqa24cVLLZlKchsctMHwU09kIU0RDA/s1600/SmilCyl-lores.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeFB07AePJUWocLB6igiRqNng8jsyH7qjg9S81HjcotJaVtDqh472_uxAoUWGnV0gTnQlfKjnyrbVyvkEO9sZlUZqSFG-w7duGvjZJDECqZqa24cVLLZlKchsctMHwU09kIU0RDA/s400/SmilCyl-lores.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5649137698534827970" style="cursor: pointer; width: 296px; height: 400px; " /></a></div><div><br /></div><div><br /></div></div>saadyahttp://www.blogger.com/profile/06431490109201032489noreply@blogger.com