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44DEGREES Is an online art magazine dedicated to the promotion of contemporary and professional Israeli artists. From 2020 the magazine also features international contemporary artists. The essence of the name 44DEGREES refers to Celsius, Which is very hot. Israel is a warm country and also the people are warm. That's why the magazine has much of the Israeli atmosphere. The magazine showcases various artists such as digital media artists, painters, sculptors, and curators, with each issue focusing on a different theme. Artists showcased in the magazine may be contacted via the URL posted. The magazine may be viewed in the Israel Museum in Jerusalem information archive room and in Tel Aviv Museum Library.

lives and works in Israel. She is an international contemporary digital artist and art director. She is graduate from the extension of the "Technion" Israel Institute for Technology in the department of Graphic Design 1983, and continuing education program for designers at Sivan College Tel Aviv 1991 . She has been engaged with Digital Media for over two decades. Tammy Mike Laufer's digital media art were exhibited in Museums, and Art projects in places such as Italy (53 Venice Biennale) Greece, Japan, the US, Portugal, Lithuania, Warsaw, Israel and more. www.tammymikelaufer.com

44DEGREES online art Magazine was founded in 2013 by the artist and the designer Tammy Mike Laufer. She created the concept and she's also the Designer | Editor | Art director | Curator | Producer and Ceo.

The official website of the magazine

www.44degrees.net All rights reserved © From 2013

The art on the cover page is by Tammy Mike Laufer

The image on the cover of the issue was created by artist and designer Tammy Mike Laufer, in honor of the American sculptor and artist Jeff Koons, who recently exhibited at the Tel Aviv Museum in Israel. Koons is the richest and best- known artist of our time. However, his path to success is fraught with controversy and criticism of his artistic and professional decisions. These controversies also testify to his greatness as an artist who followed his truth, and thus Koons left his mark on contemporary art and for that we cherish his work. In this issue, we present a very impressive collection of Israeli sculptures who expresses their inner vision through this tangible form of art. The process of creating a sculpture involves the selection of materials specific to the artist’s vision. Each material is connected to different meanings through its properties: textures, smell, contours, weight and different sensations arising from it. This is how the creation of sculpture is formed as a three- dimensional process that includes many human senses and breathes life into raw materials.


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Yardena Wysokier Yardena Wysokier, lives and works at her home in Sde Nitzan, on the frontier of the desert. Her creates sculptures in a modern contemporary realistic and classical styles which breathe life into the sculptures and give the viewer a sense of life and movement. Yardena works in various techniques and in a variety of materials: bronze, polyester, clay fired at high temperatures, and in iron and concrete. Her sculptures deal with issues which center on movement, relationships, and modern day pioneering in the Negev, and life itself, on issues bordering on loneliness and longing. 0522293384v@gmail.com FB

Yardena Wysokier

Josef Raz A Digital Artist Photographer. Visual Graphic Design and History of Art graduate . On the way from the Analog world to the Digital world, I went from using direct contact of the materials such as: Celluloid, Steel, Wood, Glass and Canvas to the Digital world where I collect all the materials for my work using the camera and the scanner. The computer's mouse is my main tool to draw and scalp my work of art. My work expresses "searching after the beauty in the ugliness and the ugliness in the beauty" and creates an illusion of the fantasy world. jozsefraz@gmail.com www.artistks.com/jozsef-raz

Cappuccino, Iron, 200 X350 mm,1980-90

Unnamed, Iron, 200 X350 mm,1980-90

Shula Ross In my figurative sculptures and oil paintings, I deal with two major motives, the one being the issue of womanhood and the other, the views of Israel. I studied history of art at the Hebrew University in Jerusalem and in the studio of known artists. My works are exhibited in Israel and abroad (New york Miami Shanghai Rome Viena Munchen Paris Zurich Belgrade ) and have been published in: Israeli artists- gazette des arte Gallery "collection" catalog Hapoalim bank "imagination" "Israeli artistspersonal touch" "Cyclamens & swords" poetry and art magazine CASTEL MUSEUM _"ASH"EXHIBITION ART WORKS EXHIBITION-MUNCHEN Im a member of impact -Israel artist association. shulaross@gmail.com www.shularossart.co.il/eng




Gideon Shani My work

Moses on Mount Nebo 2017 polyester 35-50cm

as an artist has began after many years of service in the Israeli military and national security forces and must have been informed and shaped by them. My encounter with sculpture is an encounter of belonging and commitment rather than that of an outside spectator. A sense of belonging to the history of my ancestors that have migrated to the land of Israel thousands of years ago, and commitment to the figures of the Hebrew bible stories on which I grew up on. The process of my creation takes several steps– First, I decide upon the biblical character which I would like to sculpt. Subsequently I read about its stories, commentary and interpretation, follow its path through the historic landmarks in the holy-land, visit it’s tombstone if one exists, and lastly visualize its shape as it will be seen in the new sculpture. The bible stories fascinate me as an artist; Judge Gideon’s water test, his tactical tricks, the night raid over the Midianites and his rallying cry: “Look on me, and do likewise”, which is proudly presented at the entrance gate to the Israeli school of military officers, these have inspired me in the creation of my sculpture “Gideon”. The heroic tales of Samson occur in the south of Israel; A jewish giant that managed to trick the Philistines time after time and defeat an entire army of them using nothing but a fresh jawbone of a donkey. Through all of my submitted sculptures, made of bronze and resin, depicting the legends of my ancient ancestors, I complete the strong bond I have with this land and its people. gidonshani123@gmail.com www.gideonshani.com

Gideon's test 2016 bronze 75-65cm

Samson and the donkey's jawbone 2019 bronze 60-50cm

Goliath, 2019 bronze 45-25cm

Moses on Mount Nebo 2017 polyester 35-50cm

Rachel 2018 polyester 30-40cm

Esau the Hunter 2020 acrylicOne 75-20cm

Gideon Shani

Lonelines-Bronze- 70 cm high, 2020

Elisheva Zabar Sometimes

people divide their life into two parts: before and after a significant occasion. For me- it happened when sculpting came into my life. Twenty years ago, during a living period at Texas USA, I find out that sculpting is like a miracle for me. I create with clay and cast in Bronze. My inspiration comes mostly from my own personal human landscape (memories and pictures of my family, neighbors, friends etc.) The forming process in clay, of each sculpture takes me several months and at the end, I feel as if I am giving a birth.

My sculptural style is figurative images accomplished in a realistic approach. During sculpting, I try to pour into it all my love and compassion for human being. I have participated in many exclusive and group exhibitions, and some of my works take place in private collections in Israel and other countries around the world. Zabarel9@gmail.com www.elisheva.co

Introversion- Bronze, 30 cm high, 2013

The young gardener of the world-Bronze, 70 cm high, 2018

A moment of pleasure- Stone cast, 60 cm high,2012

Grandma hug- ( now clay, will be in bronze) 80 cm high,2021

Passing thoughts- Bronze, 55 cm high, 2018

Tranquility-Bronze,80 cm high,2011

Childhood charm- Bronze, 55cm high, 2013

Brazilian tango- Bronze,40 cm high,2015

Elisheva Zabar

Haya Heller Degani In my work I tell stories, with the glass filling the place of the words. My inspiration comes from books, graffiti, news events, politics. I examine relationships and human connections. The issues that bother me are the weakest in society: women, refugees, transparent people. hayadegani@gmail.com www.hayadegani.com

Agony, kiln casting glass, 25x20x7h cm

Alienation, kiln casting glass, 21x5x12h

Hedva Reuven I, Hedva Reuven, substitute one tradition for another; I replace the canvas with a ceramic base on which I formulate my visual language. The current exhibition wishes to follow and reveal this type of process. I choose to leave the material I work with in its natural color and with its primordial, coarse, and cracked surface. This act ties to ancient crafts but also relates to the contemporary world. The burnt and brittle material concretizes inner worlds while emotional and nostalgic matters rise to the surface. This process begins with centralization. I place the lump in the center in order to maintain balance. The process is continued by kneading, characterized by reduction, expansion, diminution, and incorporation – all a part of my dialogue with the material out of which the image is born. roni@yavne.matnasim.co.il

Part of the series "Still Forming Relationships…", 2018, mixed media on ceramic, 20X14X50 cm

Part of the series "Still Forming Relationships…", 2018, mixed media on ceramic, 40X40X10 cm Part of the series "Still Forming Relationships…", 2018, mixed media on ceramic, 8X8X100 cm(part)

Ruth Hazi After many years as a ceramicist, I started exploring new boundaries of clay by layering colors onto slabs of clay and stretching them. The layers of colors broke into fragments, illuminating the mysterious process of how texture forms in nature. Texture intrigues me in all facets of life: nature, a peeling wall, Old-age wrinkles, cracks… Where I live, in the southern desert of Israel, the desert is a vast canvas of open space, barren, exposed, and multi-layered. Clay, my chosen medium, offers another canvas which expresses my life experiences. Years of practice, using various techniques, learning about what the clay wants to become, listening to nature, living among different cultures as well as my own, have all culminated in my present work. amiruth50@gmail.com www.ruthhazi.com






Transparent yet existing Colorful – yet transparent Rigid – yet fragile Hard, yet at times soft and liquid… ©

Haviva Zemach My art is a CHROMATIC DIALOGUE with the

viewer. Its medium is GLASS. I use color Instead of figurative objects or words. My tools are the stain, the dot, the line, and the gesture. Colors represent for me the language of the mind…., emotions…, atmosphere…, "language of dreams" (Gauguin). Surely, this is the simplest and most immediate language to communicate with.

The special visual and technical qualities of glass make it a fascinating, material to create with, and to communicate with . Glass is a technically complicated material, demanding much knowledge in physics and chemistry. Even though it is a great challenge, it is very satisfying, since it enables me to accomplish my artistic goals. farnheit1451@gmail.com www.havivazemach.com

HARLEQUIN 43 X 49 X 10.5 cm 2019

SPLENDOR IN THE GLASS 2 53 X 27 X 10 cm 2014


19 X 12 X 9.5cm



50 X 35 X 20cm 2017

NOTES 25 X 42 X10cm 2017

WHAT IS THE COLOR OF LIFE 28 X 32.5 X 12cm 2018

Haviva Zemach

Hava Zilbershtein After twenty years of art teaching, I preferred to devote myself to art only. In the last twenty years, I create my works by etching on zinc and aluminum plates. This technique is the most suitable to express myself because of the character of the textures. In my works I use figures made of lines and stains situated in abstract and vague environment. havazil@gmail.com www.havazil.wix.com/hava

Unnamed, 25 × 20 cm,2018

Tamar Istrin I was born and raised in Tel-Aviv Israel. I am a member of the Israel Association of Painters and Sculptors. My sculptures present the full circle of life, demonstrating childhood to the elderly stages of life. My creations begin with a lump of clay that is slowly shaped until the sculpture comes to life between my hands. I cast the sculptures in bronze and give them classic and existence forever. My sculptures have been displayed in solo and group exhibitions in Israel and abroad, while some have also been purchased by art lovers. istrint@gmail.com www.istrin.co.il

Mom's shoes. Bronze. h=72cm-2018

Embrace. Bronze. h=56cm-2019

Motherly love. Bronze. h=60cm-2020

Rina Mash-Ness For many years I hide inside me an unsatisfied hunger to shape things with my hands and create figures that were born in my imagination. In 2006 I decided to study sculpture in Florence, Italy. Many hours of watching sculptures in the Academia di Belle Art museum, taught me that every piece of stone, wood or clay hide a figure that should be revealed, has a movement that needs to get out of it. This revelation influenced my works in the future to come. The choice of subject for sculpture reflects my inner world at that moment. My works focus on women bodies in movements and abstract figures. All the statues create a unique impression of movement and eroticism. rinamash@gmail.com

A plenty to discover, 2019 polymer 0.80-0.40cm

The hug , 2010 polymer 0.60 0.45cm

The dance. 2009 polymer 0.45 0.20cm

Yael Barlev In my work, I combine what is considered fine arts and crafts. My work spans a large variety of mediums, and incorporate themes such as gender and identity. My working process is highly laboring, and uses repetitive patterns and images, to enhance my research of womanhood, violence against children and memory. I usually work with the same images over the years: monstrous animals resembling wolves with sharp teeth, faceless girls in short dresses, rickety houses flying like a kite on a string or cobwebs that seem to have emerged from a terrifying nightmare. These difficult images are in complete contrast to the crisp, transparent and fragilelooking artworks. The working process with the delicate paper and ceramic, seems that rather than softening the feelings of fear, adds another layer of violent silencing, like a cover designed to conceal the horror. yaelbv@gmail.com https://www.yaelbarlev.com

Flower of Life (Fakir), mix media on ceramic, 11x7x7.5 cm, 2016

Untitled, mix media on wood, 12x19x28 cm, 2015

Flower of Life (sorrow), mix media on ceramic, 12x11x8 cm, 2016

Eti Gadish De Lange Wood

sculpture I sculpt in wood and work physically in my studio by the sea, 63 years old, a day I do not work in a studio is a wasted day! I sculpt wooden boats in a minimalist style carrying loads of rusty iron objects that had a previous life. I am preoccupied with topics such as: transience, transitions, fragility, temporality and femininity. I also create "Siroginot" - boats that resemble vaginas, which symbolize the presence or absence of fertility, vital, cyclical and passionate. www.etigadishdelange.com etigad@gmail.com

Alfa flower,2019, 85x22x25 cm, wood, metl, gold color.

Freedom, 2018, 24x18x89 cm , wood, rust metal.

Dream, 2019, 60x60x15 cm, rusty iron, wood.

Anubis, 2018, 80x100x20 cm, wood, rusty metal

Watching, 2018, 25x15x71 cm, wood

Eyelashes, 2019, 47x120x30 cm, wood, rusty iron.

Determinaion, 2019, 15x48x100 cm, wood, iron wires, black rubber.

Relativity, 2019, mixed technique, 20x34x124 cm

Eti Gadish De Lange

Shabtai Mazliah Artist-sculptor-painter,

installation artist, interior designer and project manager, in architecture and construction, director of unit for planning and project management in architecture and construction (retired). Professionally engaged in art for over 30 years. The world of modern dance and the worlds of the stage and the theater, are a source of inspiration for my artwork. In my works I strive to analyze the spaces between the human origin and the stage image and between it and the sculptural image. The choice of dance and stage performance as a starting point is due to my love for modern dance which is an extensive field of "half real" associations up to abstract and imaginary ones. The repeating patterns in my works are often the sculpture of female characters, dancers (ballet shoes at their feet) or theatrical figures in powerful expressive poses. Some are figures presented in their entirety others are items of clothing from the world of the stage that form "body envelopes", where the body left in them its imprint, but the body itself is absent, it is the "absent present". Sculpting seemingly human figures in positions that are not natural postures and the very fact of placing them in unnatural poses shows a simulated and enigmatic presence that emphasizes the existential uncertainty of the "simulated image".

The sculpting technique: sculpting with lead sheets on top of a construction of welded iron bars, was developed by me, independently, already many years ago. I created large-scale images with these lead sheets, then the works were painted with cold liquid tar (bitumen) with the addition of pigment. In recent years, I have sculpted the figures and images from iron rods as a three-dimensional drawing in space, so that from each direction, it is possible to identify the drawing lines of the character specific to that point of view. The figures are constructed from 4-6 mm diameter iron rods, manufactured by welding, cutting, curving and bending, to create an airy shell of the character, imprisoning within the spirit of the figure. Choosing the materials - iron, lead and tar was done because they are basic materials, because of their sculptural strength that is contrary to the characters which are lacking an existential certitude. At the same time, I presently sculpt in concrete and plaster, partial quotes from several recognized works of art that obtain new connotations as icons for the "art hall "... shabtai7@bezeqint.net

Shabtai Mazliah

Ariela Beit on

Fulfillment , Bronze and wood sculpture 52x70 cm 2018

I sculpt people, because people are my passion. I know exactly how people look, outside and inside, and my work captures both of these dimensions. I, and all artists, need a place in space and time to work alone, so that our work can fully express each of our unique connections to the power of the Almighty, who shapes us all. I am blessed to have such a place and yet to be part of a "caring family" of artists. Without exception each gives of their time and positive support to each other, without rivalry or envy.

I have the most understanding and supportive of husbands, who gives me the time and space I need (and it is a lot of time) so that when, after working, I return to my loving family and I can do so with a whole heart. When that happens, I become truly the happiest person in the world. My happiness is expressed through my work, my family and my connection with the Almighty, who guides all that I do. studio.ariela@gmail.com www.youtube.com/watch?v=pkPCM0jw3S8

Father,clay sculpture 52x30 cm 2008

Clay iron and epoxy,20x10 cm 2017

Mezuzah Longing for Jerusalem, clay sculpture 32x25 cm 2008

Sculpture in a woolen garment 60x72 cm 2020

Sculpture in a woolen garment 60x70 cm 2020

David,bronze sculpture 102x25 cm 2019

When two become one,bronze sculpture 37x25 cm 2020

Ariela Beit on

I flew, Iron, 35x7x3cm, 2020

Svika Altman In

my artworks, I explore the fusion between the materialistic and spiritual world as experienced in everyday life. I create sculptures that range from the abstract to concrete image, using different materials which I select to contrast and create tension to the main theme of the work; Like wings carved in hard stone or a heart-shaped birthday cake made from barbed- wire for an exhibition marking fifty years of occupation. This tension between the material and the image is the driving force of my art. In examining the boundaries of materials, I explore the limitations of me as a creator who beliefs that man is the only one who confines himself and his spiritual and substantial development. svika.art@gmail.com http://svikaaltman.co.il

Abstract, Basalt, 75x25x20cm, 2018 (1)

And one for next year, 60x60x30cm, 2017

Flying upward, Industrial wood, iron, 70x25x10cm, 2019

Diving, Iron,240x140,100cm 2020

Holding on by claws, Iron, 120x60x50cm, 2018

Abstract, Industrial wood, 60x20x15cm, 2017

Space, stone, 60x50x15cm, 2016

Svika Altman

Shaul Baz Since an early age I'm attracted by the human figure, In the past I used to work with a live model and in every such encounter I needed to maintain and preserve all my life experience and still be tied to ancient sculpting traditions that must be respected. With time I started to add color to my sculpture and in recent works you can see sculptures that are painted aluminum reliefs. It is always magic- the way materials, following ancient traditions of work in space- creates emotion among strangers that are united in their humaneness.

Yelena, bronze, 40 cm high

shaulbaz@gmail.com www.shaulbaz.com

Man- head, arm, chest, bronze, 65 cm high

Gideon, bronze, 60 cm high

Dragonfly, bronze, 55 cm high

Lia, bronze, 40 cm high

Inbal Cohen Hamo I wander outside, in streets and fields, gleaning. I collect the remnants of existence - the objects and images it leaves behind. The line between the natural and the artificial - the product of natural forces human forces, is not and has never been absolute. Objects created by man mature and season as objects of nature. Nature creates wondrous forms, and so does man. I explore the tension between nature and culture by trying to learn beauty. I resent excess and look for the minimal form that must exist. For every form, I look for the transformation that must occur and the encounters that it must face. inbalco@gmail.com inbalcohenhamo.com/

Pearls #4 2000 7x7x7 cm

Pearls #9 2000 3x6x17cm

Pearls #3 2000 6X5X4 cm

Pearls #10 2000 6x3x15 cm

Pearls #5 2000 8x3x3 cm

Pearls #7 2000 4X4X10 cm

Gil Artzi I’m working in the fields of sculpture, drawing and photography. In recent years I have focused on figurative sculpture in clay. I have two bodies of work: traditional sculptures and sculptures with a more cartoonish character, which I paint with glazes. My work deals with subjects that interest and trouble me both on the personal level and on the social and political level. I refer to clay as a three-dimensional drawing material. Beyond the need to create, it challenges me to transfer an idea or a memory into matter. The work is completed when a new character is born.

Yariv, 34X13X9cm 2020

Ana, 17X11X18cm, 2019 Romana, 24X10X15cm, 2020

Stretcher#1, 19X27X21cm,2020

Vera, 42X13X10cm, 2019

Alex, 27X12X8cm, 2020

Stage4,14X13X6cm, 2021

Gila Miller Lapidot Sculpture and installation Israeli artist. Member of the Ceramic Artists Association of Israel, and of the International Academy of Ceramics. Takes part in local and international exhibitions, biennales, residencies and symposiums. Teaches ceramics and weaving. According to Jewish tradition, during the prayer for incoming Shabbat, we invite and welcome four angels and the “Shchina” (home of all spirits): Michael stands on our right, Gabriel on our left, Uriel is ahead of us, Raphael is behind us, and the “Shchina” is above us. My angels bodys are made from ceramics and the wings by fragments of Palm tree, which symbolizes the blessing. During 2020, the four angels participated in three exhibitions: they hovered over the works at my solo exhibition, They Journeyed and encamped. (to view the exhibition: https://youtu.be/PNpYzElFBMw), at an Exhibition in Bank Discount head office, and in MiksInternational exhibition of ceramics and glass, Zagreb, Croatia, where they gain Diploma of honor. gilamiller@gmail.com https://www.gilamiller.com/home1

Raphael, the healing angel. Photo: Hila Carmel

Uriel, the angel who lightens our way. Photo: Hila Carmel

Michael, the super angel, enables us to praise the higher. Photo: Hila Carmel

Gabriel, the Angel who teaches us overcoming. Photo: Hila Carmel

Shlomit Raday I sculpt using a variety of methods and materials. Clay, concrete, silver coating, paper and wire mesh. Metal mesh is my favorite. It has captured my heart. In the last 20 years I focus on this art form. It is unique and unusual. it offers an opportunity to see, feel and investigate shape and form, the inside, the transparency and outside of the sculpture. The simplicity, the way it surrenders to me, the surprise of creating something from nothing, inspire me. www.shlomitraday.co.il/enghome Shlo2004@netvision.net.il

Ostrich,60 cm high, iron wire and tissue paper

Chorus, Iron mesh and paint Height 1 meter Width 2 meters

38 cm H, dog, bronze

3 dancers, height 55 cm width 65 cm, iron mesh

Yellow surfer, height 40 cm width 60 cm iron mesh against a painted Plexiglas background

Democracy,Iron mesh and paint Height 1 meter

Anat Weiss I work on two parallel bodies of work. The first is figurative and symbolic. One of the pieces that I feel best represents this body of work is the sculpture “White Dreams”. Freezing the beauty of the fabric, the array of folds and the shirt’s hems encourage us to delve into the meaning of feminine symbolized by the soft blouse. Some of my works combine the two styles, the abstract and the figurative. For instance, the works in the series “the abstract figures “and others, where the glass functions at the same time as a material and as a symbol. The glass asks us to peek into the depth of mankind as light penetrates the transparent and the dim textured areas, challenging us to a deeper look into the uniqueness and strength of man. AnatArtGlass@gmail.com www.anatartglass.com/en/home

White Dreams, Cast glass, 2017 , L-35cm, W-18cm, H-23cm Photo: Yona Schley

Cast glass, 2017, L-27cm, W-6cm, H-40cm Photo: Yona Schley

inhibitions in a frame, Cast glass, 2020 L-11 cm, W-6cm, H-172cm Photo: Elad Sarig

Thoughts, Cast glass, 2017,L-40cm, W-4cm, H-30cm Photo: Elad Sarig

Thoughts, Cast glass, 2017 L-30cm, W-4cm, H-40cm Photo: Elad Sarig

Secrets, Cast glass, 2016 L-40cm, W-60cm, H-15cm Photo: Aya Wind

Born 1954, Haifa ISRAEL Lives and works in Ramat Hasharon. Studied Interior Design and Furniture at the NB Haifa School of Design.

Worked many years as an Interior Designer. For some years now I learn and draw in the studio of the artist Ronit Agasi.

Debbie Oshrat

I draw and construct collages (Ready Made) from used tea bags, on which I work in a mixed technic (Mixed Media) combining Embroidery, Painting and Sketching. This is my way of bringing to life old materials, corresponding with ancient Kraft world and Feminine Technics, using the language of the Great Mother, the Wild woman, converting them into the contemporary world, the actual, the live and kicking . . . As a daughter to Holocaust survivors, my work with tea bags started from the number tattooed on my mother’s hand, being an Auschwitz survivor. The look of her aging arm skin triggered me on a quest for a platform with texture and coloring to be as close as possible to the look of the aging skin, and enabled me to touch and to unravel the “Conspiracy of Silence”. d-oshrat@012.net.il www.debbieoshratart.com

“Mother & Daughter” – A detail, Mixed, 35cm X26cm,2020

“You left me Destroyed” – A detail from the display,Mixed,2020

Noga into the Heart Debbie Oshrat “Come my child, let’s make a kite, you will fly and I will be the string” – (Shmuel Cohen) Debbie uncovers a very sensitive body of works, revealing with a lot of courage the story of her daughter Noga, who suffers from a Post-Traumatic Stress Disorder due to mental abuse she experienced during her national service in the IDF. The creation was stimulated by poems, letters and wordings from the daughter’s personal diary, which were processed into toiling art creations by the mother. A transformation process from the written word to the moving hand holding the needle, embroidering on used Tea-Bags. One moment for the Tea-Bags to tear, next moment for them to l heal, patchwork. A mutual voyage of the mother and the daughter, a painful and healing puzzle of partially worn-out emotions, times and words. Me? My name is Noga, but except for a beautiful and lighted name, everything within me is black . . . – (from Noga’s diary)

Debbie is not alone in the process, she initiated a social support campaign for “Noga into the Heart” exhibition, to jointly create a 3 meters long “Patches Blanket”, a quilt , made from tens of patches sawed together, each containing text and/or drawing made by Noga and by others who supported the campaign and sent their feedback. The collaborated blanket, together with the display of plastic puppets, hanging on red strings, represent a mutual trauma and also the power of healing of a group collaboration. Nurit Tal-Tenne – Curator and Lecturer www.nurit-tal-tenne.com “Quilt”- Hand Craft in which small various cloth patches are sewn together to create a large work of art. The technique was developed in America during the industrial era and the waves of migration. Housekeeping diaries of women from the 18th century show that they spent time together doing textile crafts, as a necessity and fun, and as part of their coping with the difficulties of immigration.

“Patches Blanket” – A detail, Mixed, 340cm X80cm,2019-20

Creation Process

Adina Solomonovich The human dimension has always been in the center of my art. I'm trying to reveal emotions and feelings. This search fascinates me and is the basis of my creation. In my sculptures there is a longing for an innocent world that no longer exists in today's reality, and the choice of monochromatic coloration and exposed matter attempt to convey this sense of "yesterday's world." The thoughts and questions that accompany me as a woman and as a creator bring an unexpected factor into my work. I work in a traditional technique of building in coils, underglazing and engraving. adina.solom@gmail.com https://adinaceramics.net

The Harvest, 2017, 45x40x35 cm.

Regret, 2020, 45x40x25 cm


An emerging Muse, 2019, 60x40x50 cm.

Batyah Gazit Born 1943, Tel Aviv. My works reflect life as a mirror, they express joy, sadness, longing, intimacy and most of all express the respect I have for women - by the very fact that they are women ... I draw my ideas from random moments I have experienced, pictures, human body language and more. It is surprising to discover for myself - changes, transitions, a kind of revolutions ... which I go through in the process of creation itself, with a lot of pleasure and satisfaction.. batyah12@zahav.net.il FB

sculpted in clay (also known as ceramic), life-size, painted in acrylic. Frida Kalo

Carmen Miranda

Ofra Haza

Rickey Benjamin I was born in India in 1965. My family moved to Israel in 1966. I studied at the Art Students League in NYC where I lived for 14 years. Today a live and work in Rehovot, Israel as a graphic designer /video editor but my real love is art. I love working with found objects (toys specially) to which I give a different/altered meaning to. These are some of my found objects that have been altered. These are some of my sculptures made with wood, print, acrylic and some found objects. giraphic@hotmail.com

Segregation: Wood, Plastic and acrylic 25x60cm

“Where do the ducks go in the winter” ― J.D. Salinger: Wood, Plastic and acrylic 30x85cm

Sabina Saad As an artist and a daughter to Holocaust survivors, I feel obligated to commemorate the memory of the Holocaust through my art so that the growing antisemitism will not cause a new Holocaust. sabinasaad@gmail.com

A wooden box, a spring, a wooden yellow star and acrylic colors,14X14X42cm, 2010 The Devil in The Anti-Semitism Box Anti-Semitism is generally latent until it bursts in an unexpected way just like the Devil jumps out of the box . The Yellow Star in this work is larger than the box so it is impossible to put it back into the box. On the sides of the box are drawn flags of some european countries where antisemitic cases took place.

Wood and acrylic colors ,21X22X4cm, 2013 From the Yellow Star to the Shield ( star ) of David From the Yellow Star in the Holocaust to the blue Star,on the flag of the State of Israel, Symbol of the Ribirth of the Jewish People..

Bat El Elfasi As an artist and sculptress, I see the body of my work as a continuing process, as a Dialogue with historical narratives that create a Middle Eastern perspective . In my work I am drawn to a language of architectural sculpture, in a way that takes a narrative viewpoint and tries to create images that move on the boundary between architecture and sculpture. My research into the history and culture of military architecture is not seen from a documentary perspective but from my own personal perspective. The use of military structures for the purpose of training is like a set in the theatre. Over the years I have found myself drawn more and more to work that comes from my Israeli identity within the historical complexity of the Middle East. As an artist who creates within the historical reference of Israeli art, it interests me to develop my art in a way that comes from working inside this cultural framework as a starting point for my art. By doing so, I connect my work in a stronger way to the discourse of the contemporary Israeli. batelelfai@gmail.com FB

Name of the work: "Identity" Materials: wood, epoxy and mirrors Year: 2017-2019

Hagar zeevi Most of my works are done using the sculpture medium. They are driven from my passion to experience all the different materials through my hands, My inspiration is coming from what I consider to be the last remaining relics of the organic nature in the urban modern-day environment, this natural against the unnatural beauty creates a fine line that bonds the two things and as I walk that line, I am seeking after our nature’s hidden in our daily life. www.hagarzeevi.com hagarzeevi1@gmail.com

Grain, different kind of sand and wood ,casting 110x60x50 cm 2020

Air,tomato roots and epoxy,roots casting roots 25x25x4 cm 2020

Egg carton, casting, liquid clay and wood 110x40x40 cm 2018

Ada Moran Riess My sculpture style is abstract, composed of round organic shapes combined with simple geometric lines. My work is minimalistic, clean from decorativeness and redundant narratives, something that characterize my lifestyle as well. For a significant period of my life, I was visually impaired and compelled to express my creativity via touch and tactile. My work process was developed in a way that I have two main point of views visual and tactile. adamoran7@gmail.com Natural coral, aluminum casting, crowbars and stone sculpture, 60X50cm, 2018

Wood carving, 2016, 40X12cm

Soldier, 2017, wood and readymade, 70X40cm

Vicky Skandrion My sculptural pieces are made from the fruit of the luffa –a large, elongated subtropical fruit which is commonly used throughout the Middle East as a scrubbing sponge. Deals with issues of gender and identity through the body. The works simulate some bare and injured flesh and others are reminiscent of sexual, female and male organs. the sculptures walk on the thin path between repulsion and attraction, between the sensual and the seductive and the wounded. skandarion@gmail.com www.vickyart.net

Luffa with beeswax. luffa manipulated fur and thread, pigment cm 90x80x80, 2018

Luffa with beeswax. luffa manipulated .thread, Pigment cm 120X100X30, 2017

Luffa with beeswax. luffa manipulated thread, pigment cm 175x40x3 2018

Sapir Gez A young multidisciplinary artist. My art begins when the idea meets the material in order to give birth to the work of art an interaction occurs between them until something new is born. Sometimes the idea is dominant and sometimes it is the material that takes the lead. sfantomg@gmail.com

Speech cuts.Ready-made 200.150.170mm2010

The Golden Calf 450,350,250 mm 2017

Yonat Chameides My sculptures refer to ancient cultures. Their attitude to matter and spirit, the “is” and “Is not” intrigues me. Different techniques and objects are joined, in exploration of attachments. Vivid colors, metal visuality of clay, classic forms in contemporary shades, and more… all outcome of this unexpected encounter. I am ‘sculpting’ clay in liquid form, exploring the concepts of a shell and the void created within it. A cloth is used as a construct for the sculpture. In some works, it is burned and disintegrated in the work process but still recognizable, its memory lingers. In others the liquid is hardened through chemical processes, becomes solid and durable. yonat.chameides@gmail.com https://he.yonatchameides.com Photography by Hagit Goren

Mixn'Match3, Ceramics, H-30-40 cm, 2020

Sanat Batia in Blue, Ceramics, H-30 cm, 2020 No Title, unfired ceramics, L-40 cm, 2019

Daniel Baharier I never feel more alive than when I Draw or Sculpt. My work has touched many bases but i come back to or frequent showing the human form in movement this has been a predominate element along with balance, in my work Along with a preoccupation with the space that surrounds an object or possibly the objects place in this space. As I try to find myself in my own space in this world. danielbaharier@gmail.com https://en.wikipedia.org/wiki/Daniel_Baharier

Eye ll bronze 45cms high

Parrallel lines 30cms high bronze

Dancer 35cms high bronze 2012

Sue Ela My sculptures deal mostly with relationships, women and dance. My favorite technique is bending steel wires, covering them with clay and casting them in bronze or polyester. Based on my abstract sculptures, I have designed interactive and experiential sculptures, two of which are in a sculpture park in Modiin and eight of my huge sculptures of royal images comprise "The Kingdom Playground" in the Liberty Bell Park in Jerusalem, including slides, crownshaped benches and sculptures behind which children can stand to be photographed. My three-meter-high aluminum sculpture "Vision", a unique, flowing and dynamic Star of David, created in memory of my husband, is about to be placed at Mt. Herzl in Jerusalem. sue.ela1@gmail.com www.sue-ela.com

Signature Bronze 40x80x40 2020

Cooperation Bronze 65x30x30 2020

Vision Bronze 55x40x20 2019

Shlomo Katz I was born in Romania in 1954, and at the age of 10 immigrated to Israel. Graduate of the Bezalel Academy of Art. I create in various fields of art- drawing, painting, printing, mixed media and sculpture. In my works, I express the observation and search for the secret, drama and special charm inherent in the shapes and situations in nature. I examine the difference and uniqueness, and express it in line, stain and form. The writing hand, the brush or chisel, touch the material, conveying the same aesthetic message that is projected in the artist’s brain. The artistic endeavor documents a fleeting moment, a thought and even a memory, which without the work may be lost forever. In the sculptural works I am influenced by Brancusi, his work “The Kiss”, is a source of inspiration for my series of works on the subject of Duality, “Gate to love; Homage to Brancusi ... And more. Sometimes the idea for a work is a drawing of a thought that flashed and came to fruition in the material (“The dancers”). Sometimes a look at a lump of stone or other material creates an association, which motivates action (“Composition in white”). shlomoart@gmail.com www.shlomokatzart.com

Homage to Brancusi, aluminum cast, 54x44x15 cm, 2018

Tided together, aluminum cast& wood, 173x30x24, 2010

The Bathers, aluminum cast, 52x97x22, 2010

Bilha Farber I am an artist and sculptor, both locally and internationally. I create using an array of materials, from ceramic to iron and from upholstering furniture to designing and building recycled light fixtures. My first choice has always been ceramics. I use ceramic in my work when creating pictures, models, and sculptures which were shown in galleries and stood in city squares around the world. I believe my favorite thing, is sculpting obscure figurines. I also love experimenting with colors and new techniques and always try new ways and tricks. Every project starts with an idea, but I sometimes get the best ones after playing with the material itself. Well, that’s me in a nutshell… theredadman@gmail.com www.instagram.com/bilhafarber42

Escapism, 25x40 cm- 2020

Large fish, 50x25cm - 2020

Human fish ,35x40cm - 2018

Eti P. Bashvitz I am a painter & sculptor with recycled materials. I have been managing an art studio for the past 30 years. As part of my involvement with art organizations I am a member of the Rishon Le Zion artist organization, and I lead all art related activities focused on the promotion of women in the Rishon Le Zion municipality. reuven.b.e@012.net.il

Sitting on shoe , metal and wood , size 25/15/8cm

Aladdin , metal, size 15/15/15cm

Purple, metal and wood, size 15/15cm

Irit Biber For years, my curiosity and self-search in the art world have led me to experience different areas of artistic endeavor, Until I came to the world of sculpture which brought me quiet from the constant search. The sculpture gives me the peace, tranquility and disengagement from everyday life activities, And this is for me also the means of expressing anger at the injustices done to human beings on the one hand, And on the other hand expressing my interpretation of the humor and joy of life that I experience and encounter in Israel and in the world. The sculpting process lasts several months and at each stage my excitement grows in that I had a base raw material that comes as a random lump, a tin or an iron plate and I turn it into something different, something warm and imbued with a life a beauty and aesthetics of its own. And sometimes even incorporates it into other creations. Materials used: Clay, Iron, Bronze, Aluminum, Polyester and various other materials from time to time. https://www.iritgbiber.com/ iritgbart@gmail.com

5.2020 , High-tech boy , Statue , Bronze , 33-28.5 H=38 . Armchair made of iron 40-40 Carpet 40-41

2019 Charlie Zeppelin A day without a smile is a wasted day 27-17 , H-50 , Bronze

2015 Meditation Bronze 22-33 , H- 39 - ‫עותק‬

Beni kalinski The beginning of my sculptural path as a child carving wooden planks with a pocket knife I carried fixed in my pockets The passion and need for sculpture are a part of me and who I am The materials I work with are stone and wood and in the past even clay In clay I decide what the theme and model are but in wood and stone the materials decide for me even though the inspiration and influence for my works is nature and animals As a farmer, animals are always with me in my life and work The sculptural tools are electric and in the past there were chisels and sculptors that of course affect the end result of the work as well as the different types of stone some soft and some hard. benirooth@walla.com The pain, a Jerusalem stone, H38 cmX22cm

African jasper stone mask red jasper, H 45 cm X width 40 cm

Winged lion, limestone, H 78 cm X 80 cm

Noa Arad-Yairi My body of work consists of topics I work on in the studio and site-specific projects where I create works that stem from the study of the historical, cultural and political narrative associated with the place. The feminist view of a woman is at the core of my work. I sculpt women I know that in the clear confident presence of how they place themselves in the world I find a definition of existential-feminine state of being. My main artistic practice is sculpture. Sometimes I turn to other mediums, mainly painting. The clay is my basic material, at times the sculptures are fired but more often I would make a mold and cast materials such as concrete, polymers and plaster, and use it along with iron rods, organic materials and found objects. www.noaaradyairi.com noayairi@gmail.com

Mother Mold, sand, plaster, 35x12x5 cm (each soldier), 2019

Madonna #11, polymeric plaster, wire, gold leaf, 56x34x50, 2020

Madonna#1 (The Madonna of the Toilets), polymeric plaster, wire, gold leaf, 53x21x18, 2016

Zipi Lustig At the base of my work I create a dialogue between the mythical and contemporary world. I explore the nature of the things that exist in our world, create their historical contexts to the here and now. I create with any material that helps me to express my thoughts, in stone, plaster, castings with polymers, use materials with coarse textures, pour in earthcolored concrete, combine polyester with stones I collected in the desert, the same place where the tribes passed and created figuriness. In my sculptures I touch the naive ritual place, a place who is invisible in a non-existent reality, I try to mediate between the existent and the non-existent between the past and the present, between the physical and the metaphysical. In many of my sculptures there is a relation to the archetype of the great mother, of ancient gods and figuriness. In an attempt to translate the connection and assimilate ideas and feelings related to the human nature. My work is influenced by archaeology, history, mythology, ancient Egyptian art and ancient cultures. zipi_lu@walla.com http://zipilu.wix.com/zipilustig

Heroes cement 30x9x7cm 2015

Figurines 28x4x5cm 2018

Moriya Mor My artistic work focuses on the human figure, of both woman and man, the interactions between them and life experiences we go through. Life experiences that intrigue me, such as motherhood, femininity, or life cycles – old age versus childhood, are expressed in my sculptures, as well as my favorite areas of interests - dancing, nature or movement. I also strive to express my personal emotions like doubts, love or a cry. Being an energetic and active person, my work is characterize by flowing, clear and dynamic line. Nowadays I sculpt with clay and then pour plastic materials like acryl or polyester, or cast bronze. In the past I experienced sculpturing while pouring synthetic marble. These days I am looking for new methods and new materials for my art. My style is mainly figurative but abstractive as well, and I keep exploring ways to combine them both. I love working with clay since it gives me an opportunity to create forms, images and flows, that follow my feeling and imagination. moriyamor3@gmail.com FB

Old age versus childhood, acryl, 28x25x20cm

A tribute to the jewish Aliyah from ethiopia, 35x35x37cm

Dancing, polyasrer, 72x15x16cm

Andy Ceausu Sculptures – The Dialogue with Materials and Forms Sculpture offers me the possibility to create shapes, to assemble materials, to combine textures and colors and to turn them in something different. I'm interpreting my part in this "puzzle game" with art. The study of the materials, surfaces and shapes using intuition and making correlations is the start point of a new creation. After minimal adjustments, the elements are assembled in one sculptural composition by binding with suitable adhesives. In this way wood and stone can form a common body with the plastic or metal. During the pandemic, I used everyday plastic waste. Thus, the desire to protect the environment was harmoniously combined with my search for new materials for my sculpture works. andy-c@bezeqint.net

The Dove_Polyethylene foam-12 x 20 x 38 cm-2020

Afro-dita _ Stone-smelting slag-fruits of Golden Shower tree and of Brazilian Pepper tree-28 x 16 x 12 cm-2019

Femininity_Polyethylene foam-60 x 20 x 20 cm-2020

RuTea S. Noy I am a multidisciplinary artist, fine art photographer and visual narrator. My work is poetic, musical, and entertaining With brushes, cameras and software it communicates stories to those wishing to explore everyday life in a non-conventional fashion, heal, find strength, hope and inspiration. Web site

Metamorphosis 2 - Mask of grief 16x10 - painted paper mold mixed with glass and metal. Acrylic paint Metamorphosis 1 - Mask of Loss. 18x10 - Painted paper mold mixed with glass and metal.

Aida Nassralla

In this age of #metoo and #pressforprogress movements, it is especially appropriate to dedicate this issue of 44 Degrees to women artists in Israel. This issue is in collaboration with The Association of Women's Art and Gender Research in Israel. The main goals of the association, established in 2015, are to encourage the research of women artists in Israel. We also aim to serve as facilitators to contemporary women artists who are in need – by organizing events, shows, prizes and residencies, alongside helping them with networking, and by supporting scholarship about artistic activity. The association welcomes researches, artists, curators and art lovers of all genders and ages, from any religion, ethnicity, or nationality. Our hope is to have many members join us (please visit our website: https://www.womenartandgender.com/ In this issue we are proud to introduce four of our winning artists who received the prize "artist of the month", granted to members of the association. In the next issues we will introduce additional artists, aiming to unfold the rich variety of artists, techniques and themes that women artists in Israel are engaged in.


Prof. Yael Guilat Chair of Association of Women's Art and Gender Research in Israel

Nassralla hold a PhD in the arts from Tel Aviv University. She is a plastic artist, and also a writer. She has published six books, translated to different languages, and is the author of many academic articles on Palestinian art, especially about women artists with she discusses from a feminist perspective. She is a senior lecturer at the Beit-Berl College and she is also a prolific artist, creating mainly in the medium of photography. Aida_n56@yahoo.com

Moran Asraf

Asraf is a feminist multidisciplinary artist, using her own body to deal with issues of gender and express her position as a Mizrahi woman. She is a B.A. in arts from the Sapir College (with distinction) and she won prizes such as "Artist in Community" in 2018 from the Israeli Ministry of Culture and first prize in the international student film festival at the Tel Aviv "Sinimateque in 2016. Asraf has taken part in several group exhibitions and solo exhibitions. mornas1609@gmail.com

Anat Itzhaki Itzhaki is a painter, specializing in painting. She owns a studio in Tel Aviv, in which she teaches since 2011. She holds a B.A. in social sciences and engineering

and a M.A. in history of art from Tel Aviv University. Her works were exhibited in several group shows, and are characterized by a combination between the figurative and the abstract. www.anat-studio.co.il

Welcome to our Solo Exhibitions

I am a Diaspora Jew. I have always aimed to achieve a meaningful balance between my secular life and my religion. My initial interest was focused on synagogue architecture as a prayer hall. As a female artist, my perception was directed from the high perspective of the ladies' gallery. Towering above I watched the beauty of the panoramic scenes below, surrounded by a backdrop of architectural splendor, the male-dominated services created a spiritual euphoria of drama with movement, color, and light. Through exploring the theme of public and private space within Judaism, the synagogue, and the secular surroundings - I evolved and developed into a visual writer, illustrating the story of Jewish social history. Showing how Jews have kept their identity whilst contributing to the secular world, supporting financial markets, trades, politics, and arts, etc. I became aware of the political pressures and the relationship Jews had with the indigenous community, their acceptance or rejection. I use drawing and sketching as a baseline to my ideas and oil paintings. In recent year I have started incorporating new material such as Plexiglas, engraving on plywood and zinc foils.

When I paint, I try not to plan ahead. . . The feeling is that the painting chooses me through the free hand movements that play spontaneously on the color palette ... and during this whole process my mind is focused on the feelings that arise in me from the subject or theme that often remain unknown to me as well. My clarity is obtained through the colors, color spots, texture, composition or image that reveal to me what I want to express. It is a conscious process that is in dialogue with unconsciousness.


Fragments, 2020

Formation, 2020

Parts 2020

Detachment, 2020

Rearrangement 2020

Proximity 2020

Resilience 2020

Atachmentl 2020

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