Miriam Houri Gutholc

WOOD and STONE

[29] Taurus

2003, Wood and stone, H 11 cm.

[28] Small She

2003, Wood and stone, H 17 cm.

[27] Three Stones

2002, Wood and stone, H 25 cm.

[26] Black Granite

2001, Wood and stone, H 20 cm.

[25] Imitation Stone

2001, Wood and stone, H 30 cm.

[24] Pipe

2001, Wood and stone, H 39 cm.

[23] Relief #7

2000, Wood and bronze, L 12 cm.

[22] Relief #6

2000, Wood and stone, L 176 cm.

[21] Relief #5

1999, Wood and stone, L 55 cm.

[20] Relief #4

1999, Wood and stone, L 75 cm.

[19] Relief #3

1999, Wood and stone, L 25 cm.

[18] Relief #2

1999, Wood and stone, L 38 cm.

[17] Relief #1B

1998, Wood and stone, L 32 cm.

[16] Relief #1A

1998, Wood and stone, L 20 cm.

[15] Suspended

1999, Wood and bronze, H 22 cm.

[14] Two

1998, Wood and stone, H 22 cm.

[13] Jonathan

1998, Wood and stone, H 30 cm.

[12] Tree

1998, Wood and stone, H 110 cm.

[11] Fullness

1998, Wood and stone, H 125 cm.

[10] She 3

1998, Wood and stone, H 67 cm.

[09] Little One

1998, Wood and stone, H 48 cm.

[08] She 2

1998, Wood and stone, H 68 cm.

[07] Growth 2

1998, Wood and stone, H 41.5 cm.

[06] Growth 1

1997, Wood and stone, H 35 cm.

[05] Golem

1997, Wood and stone, H 32 cm.

[04] Primate

1997, Wood and stone, H 47 cm.

[03] She 1

1997, Bronze and stone, H 47 cm.

[02] Burden

1997, Bronze and stone, H 45 cm.

[01]Marcher

1997, Bronze and stone, H 29 cm.

WOOD and STONE

For almost 30 Years, Miriam Houri Gutholc has worked with various materials in her sculpture: Stone, Clay, Cast Stone, Bronze, Wood, Plastics. Up to the present, wood in its organic, unprocessed form, belonged in her garden, in the woods, in the pile of fireplace wood stored out of doors. Although always fascinated by its forms, its textures and life, and while grooming her trees, she kept “interesting branches, noting their movements, their structure. But she never did quite consider them material for her sculptures until she encountered “The Marcher”. She suddenly felt the need to fill the space between the branches, especially with stone. This was the starting point for the present exhibited series.

The first sculptures evolved from branches whose intricate movements evoked a figure, an expression of sorts which the stone completed. As work progressed and developed, stone adapted itself more and more to the shape wood. The stone actually replaced the heart of the wood. In later sculptures, the stone bursts out of the confines of the wood, as though growing from it like branches.

In Miriam's sculptures, Wood and Stone intertwine to form a new entity, a new life.

Sarka Sapan

Sculpture studio

WOOD and STONE