A Behind-the-Scenes Peek of Installing my Exhibit

I’m embarrassed I didn’t share this post much sooner. Literally, this morning I de-installed what you see here from two months ago - my installation of the ten paintings that make up my “Letter in the Scroll” exhibit.

Ten paintings on cardboard waiting to be hung

I had envisioned these works on cardboard as a pop-up exhibit to complement the artist talks and group/community building projects I lead. When I got a call from one of my Substack subscribers asking if I would show at her gallery, this ready-to-go pop-up exhibit seemed perfect. So, I thought.

Western Wall, Jerusalem

Two weeks prior to the opening, I learned the gallery walls were covered with carpet. The problem was, I had developed a hanging system to hang these paintings on painted drywall or wallpaper. Carpet made this totally unworkable. But as things go with art and creativity, set-backs tend to lead to exciting discoveries and results. It was no exception here. The new fasteners I developed for carpet are more sophisticated, faster to install and ready-to-go on virtually any wall. Nice!!!

Lake Louise, Wyoming, USA

The exhibit was inspired by the words of the Baal Shem Tov and a book written by Rabbi Jonathan Sacks, “A Letter in the Scroll.” The book was influential in coming to grips with my Jewish identity. Collectively, the Jewish People are seen as a living Torah Scroll. Each and every Jew is their unique and indispensable “Letter in the Scroll.”

Woman in Sefad, Israel

During the show, a woman introduced herself to me as a professional art historian. She said she couldn’t help but feel sorry these beautiful works were on cardboard. I thanked her for her kind words and said I appreciated where she was coming from. I went on to explain that part of my intent with these works, was to actually create a dissonance within myself and the eventual viewer. Though, not necessarily what she was feeling. I said I was challenging myself first and foremost. To tap into my ever-growing sense of impermanence. Could I let go of my need for ego glorification and posterity? Could I embrace the experience of the here and now and simply revel in the exciting, unimaginable, and ever-evolving possibilities of the creative process?

Nodding, she said, “Barry, I understand. And I still can’t get over the fact that these works are on cardboard.”

IDF Soldier guarding the Lebanese border

The vertical and horizontal green lines you see in these photos are from a tripod mounted laser level I use to mount the paintings.

Chassid in Sefad, Israel

These ten paintings zoom in for intimate portrayals of a people, place and circumstance; juxtaposed moments in time; “slices of Jewish life” in Israel and the diaspora.

A broken lamp in Safed, Israel - a city with a rich history of Chassidic involvement. Chassids are affectionately known as “Lamplighters” - sparking the inner light of Jewish identity within others.

“Homeless in the Homeland” Tel Aviv, Israel.

This exhibit was originally contemplated as a collection of ten paintings. It just so happens, the number ten is a fundamental building block for all Creation. There are also ten Divine utterances through which the world was created, ten generations between Adam and Noah and again from Noah to Abraham; ten plagues in Egypt, ten tests in the desert and the obviously the Ten Commandments. The list goes on and on from here. And believe it or not, I’m just becoming aware of all this as I’m writing this post.

Western Wall, Jerusalem, Israel

The number ten didn’t come from any of the above. It came from the critique and tutelage I received from an Israeli artist.

My wife and I had the pleasure of spending the better part of a Sunday afternoon with an internationally renowned artist in his Old Jaffa studio. With its multi-rooms and levels, high Ottoman arched ceilings and expansive windows overlooking the Mediterranean, and walls adorned by magnificent works of art, it was hard not to be inspired.

“Panhandler” Jerusalem, Israel

Quite impressed with my work, he said to me: “Barry, it’s obvious you can do whatever you want. And, do it well. But, you have so much breadth in your work, it doesn’t hold together.” Pointing to works on my website, he said “Pick whatever you want to do more of. Whether it is this sculpture or that painting, go deeper with your subject and materials. Do ten of the same genre and you will then have an exhibit.” He was right!

Tel Aviv, Israel

To see prior posts, click multi-colored circle at top.

Share