Jerusalem, Teddy Park, Sundial Sculpture 2013
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Maty Grunberg
Maty Grunberg was born in Skopie, Macedonia, the former Yugoslavia. In the year 1948 M.G. immigrated to Israel. M.G. finished "with honors" his studies at "Bezalel Academy of Art", Jerusalem (1964-66) and continued for his M.A. at "Central School of Art and design" in London (1969-71). He lived and worked in London and New-York for 44 years. In 2007 he came back to Israel and opened his Studio in Bat-Yam. Read More...
Old Website: Maty Grunberg 1966-2007 |
Photographers: Amos Roger, Gershon Sliwinsky
“A Sculpting Problem”, the Whole of the Essence in the Palm of His Hand / Maty Grunberg
In the year 1977, in the early days of Maty Grunberg's sculpting career, he was invited to spend the day in the company of the greatest of England’s sculptors, Henry Moore. He was lucky enough to be given a personal tour by Moore himself. They scanned the giant sculptures that stood on the green, grassy knolls, the old sculptor leaning on the young sculptor. Later, they came into a small studio; its walls covered with shelves, crowded with rows upon rows of tiny sculptures – models of Moore’s giant sculptures. When Grunberg asked “but where is the landscape of those tiny sculptures?” Moore picked up one of the models, placed it in the palm of his hand and said, “Landscape? This is the landscape.” And thus began a tutoring session that lasted for several hours, the object lesson being that the entire sculpture is contained in the palm of one’s hand. This extreme miniaturization glosses over the details, extracts the essence of the concept and captures the correct spirit that later dictates the execution and details of the full-size piece. This idea is visualized in the small sculpture named “A Sculpting Problem” – the artist’s palm, with tiny models of other sculptures growing from its fingertips. To this day, this is how Grunberg approaches the planning of his sculptures – from the palm of his hand.
From the notes of Naomi R. Azar
In the year 1977, in the early days of Maty Grunberg's sculpting career, he was invited to spend the day in the company of the greatest of England’s sculptors, Henry Moore. He was lucky enough to be given a personal tour by Moore himself. They scanned the giant sculptures that stood on the green, grassy knolls, the old sculptor leaning on the young sculptor. Later, they came into a small studio; its walls covered with shelves, crowded with rows upon rows of tiny sculptures – models of Moore’s giant sculptures. When Grunberg asked “but where is the landscape of those tiny sculptures?” Moore picked up one of the models, placed it in the palm of his hand and said, “Landscape? This is the landscape.” And thus began a tutoring session that lasted for several hours, the object lesson being that the entire sculpture is contained in the palm of one’s hand. This extreme miniaturization glosses over the details, extracts the essence of the concept and captures the correct spirit that later dictates the execution and details of the full-size piece. This idea is visualized in the small sculpture named “A Sculpting Problem” – the artist’s palm, with tiny models of other sculptures growing from its fingertips. To this day, this is how Grunberg approaches the planning of his sculptures – from the palm of his hand.
From the notes of Naomi R. Azar
