• Menu
  • Skip to primary navigation
  • Skip to main content

Before Header

  • עברית (Hebrew)
  • English

אבי שפרבר - Avi Sperber

אמן

  • Home
  • Solo Exhibitions
    • From Nature to Myth
    • Chapter Three
    • Art in Movement
    • Endless Love
    • Moctezuma Spirits
    • Alef
    • Hermes, Me and My Masks
    • Going West
    • Immortality
    • Temptation
    • Bar II
    • Organic Landscapes
    • Bar I
    • Insane Homeland
    • The Great Conjunction
    • Hebron as Paradigm
    • Seeds of the Land
    • Stone Sculpture
    • Public Sculptures
    • Exhibits Abroad
    • Other Sculptures
  • Avi Sperber
    • Avi Sperber, Sculptor
    • Avi Sperber, Engineer
  • Articles about Avi
  • Home
  • Solo Exhibitions
    • From Nature to Myth
    • Chapter Three
    • Art in Movement
    • Endless Love
    • Moctezuma Spirits
    • Alef
    • Hermes, Me and My Masks
    • Going West
    • Immortality
    • Temptation
    • Bar II
    • Organic Landscapes
    • Bar I
    • Insane Homeland
    • The Great Conjunction
    • Hebron as Paradigm
    • Seeds of the Land
    • Stone Sculpture
    • Public Sculptures
    • Exhibits Abroad
    • Other Sculptures
  • Avi Sperber
    • Avi Sperber, Sculptor
    • Avi Sperber, Engineer
  • Articles about Avi

Avi Sperber Sculpture – by Jan Van Woensel

Sculptors have always intrigued me. My practice as curator and philosopher always followed the motivation that all art is born out of a concept, an idea, which in itself is not an easy development. Then, the concept (might) materialize(s) into an artwork. This process from idea to physical work, inevitably also establishes a loss of the original concept, or intention, because now the artist is confronted with the boundaries and specific characteristics of the material, his own craftmanship, skills, energy, and the situational relationship the new artwork is placed in, during and after completion. Even though the artwork, in the world of matter, is removed from the initial concept, it becomes automatically a conceptual work; body referring to psyche, material referring to immateriality. This is the transcending energy in which I see the work of Avi Sperber. The struggle is that artwork that sometimes has a spiritual motivation, could contradict itself via the use of the chosen art discipline. Sculpture is almost always a medium that monumentalizes an idea. The key is to use the materials, stone, wood, metal and others, in such way that the artwork transcends a certain lightness and coincidence. This aspect is what attracts me most in Avi Sperber’s “Sign of Life”, “Meeting Tycho Brahe and the Maharel”, and “Alef”. Here, the artist succeeds in the creation of works that read like collages, sketches, compositions that are transitory and perfect in their poetic suggestion in such way that they catch and hold the attention of the viewer. We are challenged with a personal reading of the sculptures by navigating our thoughts through the associative and situational compositions, that reflect the sky and accept thereby, a constant change of atmosphere.

 

Jan Van Woensel

Ladislav Sutnar Faculty of Design&Art

University of West Bohemia

 

Curator of the Ladislav Sutnar Gallery

Inkubator Project Space

International Projects

 

Previous Post: « A Dialogue with Historical Cultures via Avi Sperber’s Sculpture by Doron Polak
Next Post: Avi Sperber Creates Contemporary Stone Sculpture – by Doron Polak »

Site Footer

avisperber.com
Studio : Artists Workshops Kibbutz Ein HaCarmel סטודיו : סדנאות האמנים קיבוץ עין הכרמל

Copyright © 2023 · Avi Sperber · E-mail : avilora@yahoo.com