About Me

I first began to work with clay at Tel Aviv Arts High School, focusing on sculpture and pottery. My teachers, the sculptor Sonya Natra, and the painter Edwin Solomon, both from the Post-World-War-II Romanian Art school; helped begin in me work around the tensions between figurative and minimalist forms of expression.

With regards to pottery I was drawn, through the instruction of two different teachers, equally to the Mediterranean earthiness of clay, and to the articulation in traditional British stoneware and porcelain. These early gestures pointed me towards contradictory directions in art and crafts, and became the foundation for the importance of layers in my work.

During my mandatory military service I continued my experience of opposing conditions, the urgency for protection constantly contradicted by the military’s need for acts of separation and control. Yet, coming from the military discipline, I was able to live for four years in an urban commune in Bet-She’an, a small town at the junction of the Jezreel and the Jordan River Valleys. Both living in the commune and that town has affected me significantly.

Bet She’an was built on the remains of  Scythopolis, a city prosperous in Hellenistic times and, subsequently, the leading city of the Roman Decapolis. I worked in a factory making helmets, and teaching art classes in the community center. The ruins  of the Theatre and Baths, and of the Roman cardo, or main street, through which I walked;  served as a daily example that forms of expression could persist through time informing each the other via a structured layering of material.

These thoughts led me to the study of Architecture and Preservation. Following my graduation from college, I received a commission from ICOMOS to survey Hungarian Jewish synagogues and cemeteries destroyed or repurposed during World War II and its aftermath. Returning to Tel Aviv, I worked on preservation and restoration of early 20th century buildings built in the Eclectic Style, a style bridging European planning and Oriental forms; as well as buildings designed by architects who studied in the Bauhaus school and had a vision of the White City for Tel Aviv.

In my Master’s studies at Iowa State University, guided by inspiring professors Bob Segrest and Jennifer Bloomer (architecture) and Ingrid Lilligren (ceramics), I continued to investigate the strong connection between the processes of Making and architectural planning .  My thesis, The architecture of the borderline, investigated the physical and psychological character of the border between Israel and Palestine. I erased the graphic “line” dividing the two states on the map, and remade it as a “zone” the act of crossing which involved processes of exchange: produce, cultural views, and works of art; a source of needed labor, and of necessary employment.

A physical model, built from clay and glazed, represented, in scale, a fragment of the actual border comprising a Jewish village, Matan across from an Arabic one, Hable. Both villages had archeological ruins, adding yet another, temporal, layer to the accumulative crossing zone.

After years working in architectural offices, including that of Frank Gehry & Associates in Los Angeles, I felt compelled to return to the earthy world of clay; in particular working with, and inspired by, Rob Fornell and Peter Olsen.

I work both on functional pottery and on conceptual statements, explore ash glazes and fire in the high-temperature kiln I built for my studio, and am a Resident Artist at the Seward Park Clay Studio.

I live in Seattle with my two boys, Asaf and Itamar.

Iowa State University Master of Architecture 1997
Holon Institute of Technology –Architecture and Preservation 1992 (Israel)

The American Institute of Architects Henry Adams Medal 1997

Thesis Prize, Department of Architecture, Iowa State University 1997

Book Award Studies in Architecture and Culture, Department of Architecture ISU 1997

ICOMOS Scholarship (UNESCO) 1992
(Documentation of synagogues and cemeteries in Hungary)

America Israel Cultural Foundation Design Award 1992 
(for the design of Abarbanel Mentally Impaired Hospital, Israel)

Or-Dover foundation Award 1992
(for the design of Jazz Academy, Jaffa  1992)

NCECA On the Edge- Seattle 2012 
We are the 99% Hanging On installation

ArtStop Tacoma 2012

Henrybuilt furniture Seattle showroom 2002

Broadcast Journal of Social ecology January 2013 We are the 99% Hanging On

Additional work
Reflections Visual Arts judging 2012

(National PTA and WSPTA cultural arts students competition)

Assistant Professor in the Department of Architecture, Iowa State University  1997.

Editor ISSUE2, the Newsletter of the Department of Architecture, Iowa State University  1997.

Editor ACSA 1997, the West Central Regional Conference proceedings.

Art Director – Short film Torat Hamidot [Ethics] about Baruch Spinoza in contemporary time, Directed by Yigal Burstein.  First prize in the Short Film Festival, 1992

Sonia Natra head sculpture

Sonia Natra sculpture

Beth Shean Scythopolis

Beth Shean Scythopolis

Beth Shean Palladiuse street

Beth Shean Palladiuse street

Bet Shean Roman Theatre

Bet Shean Roman Theatre

BethShean Roman Bath

BethShean Roman Bath