I often reflect on a Kabbalah belief in which the Hebrew Scriptures are viewed as “Black Fire on White Fire.” Black Fire, ink drawn symbols, expresses a language and conveys a message. White Fire, the seemingly blank white parchment is also a language, conveying the unseen and unknown. We too are like Black Fire on White Fire, our seen and unseen, known and unknown self.
The medium used is cold wax, and is mixed with oil paint before applying to the support. Cold wax became the sole pursuit sometime after I discovered, behind my studio, an enormous beehive that had fallen to the ground. Over the years, after the exodus, random bees would visit the hive and the history encased in the wax remnant.
My interest in memory started at an early age when stories were shared about our Indian heritage. Collecting names, dates, stories, maps, and DNA, I was finally able to verify our Native American heritage and in the same area another tribal family – Semitic. As a natural progression (much like the bees) I retraced my ancestor’s homeland in the still, yet intensely active, raw beauty of Northern New Mexico. Memory is tangible and not; it is vague and specific; unknown and known. By making marks and responding to those marks a history is created encased in the wax, as I search for the seen and unseen, known and unknown.