TORAH ORNAMENTS

While the biblical source of the Torah shield describes the 12 tribes of Israel as precious stones, this shield depicts the Jewish people as 12 budding branches. This reflects the values of the temple, whose name refers to the beautiful Talmudic image of scholars as blossoms.

Rather than dangling awkwardly as the Torah is paraded around the synagogue, the yad here is integrated into the shield. The user of the yad, the Torah reader, stands for each member of the community, so the place for the yad is within the blossoming trees of the shield. Prior to reading, the yad is “plucked” from among the trees, and fits comfortably within the reader’s hand.

• Sterling silver, 13″ h x 12″ w
• Commissioned for the 150th anniversary of Holy Blossom Temple, Toronto

TORAH DISPLAY

This installation of a Czech torah rescued from the Holocaust is both a memorial and an educational display. The torah is protected by a custom mount, behind a pane of plexiglass. The plexi is selectively frosted so as to reveal particular features and areas of text, focusing the viewer’s attention on these poignant fragments. The interpretive text overlaid on the object expands the message of universal rights and compassion told in the revealed Hebrew passages. Photos by Darris Lee Harris.

• Walnut, linen, bronze, + plexiglass, 4’ h x 5’w x 1’d
• Commissioned by The Jewish Reconstructionist Congregation, Evanston, IL

TORAH CROWNS

Traditionally, torah crowns (rimmonim) parallel the alternating bells and pomegranates on the hem of Aaron’s priestly robe. The motif of the hollow bell and the bursting pomegranate can be seen to represent two states of mind, one of selflessness and one of confidence, that are necessary when approaching the Divine.

These rimmonim express this empty-full relationship. The interior of the left one is hung with silver bells, the right with pomegranate seeds of polished and etched crystals. The free hanging of these two make slightly different sounds, reminding us of the two states of consciousness experienced by Aaron as he entered the holy of holies.

• Sterling silver + Czech crystal beads, 10”h x 4” dia
• Commissioned for the 150th anniversary of Holy Blossom Temple, Toronto

TORAH ARK

Commissioned for a new outdoor chapel at an overnight camp, this ark celebrates its relation to the natural elements. Shimmering metal leaves on the ark doors catch the light at different times of day, acknowledging the passage of time. They are loosely attached to the ark doors with pins, moving gently with the breeze, like leaves on a tree. The translucent back panel of the ark allows shadows of surrounding trees to read through, as well as capturing the rising sun during morning services.
The channel defining the center of the ark’s winged roof is sloped toward the overhang at the back of the ark, forming a dramatic spout creating a waterfall when it rains. The form of the roof echoes the protective wings of the cherubim described in biblical passages as outspread, hovering above the ark proper.

• Cedar planks, steel frame, aluminum, copper,+ brass leaves 6′ w x 3′ d x 7′ h
• Commissioned by OSRUI, Oconomowoc, WI

SUKKAH II

Sukkah II is inspired in form and concept by the aesthetic of the Japanese tea hut. The principles of simplicity, austerity, irregularity, and impermanence found in that tradition echoes the ideals of the sukkah, a place of humility and openness to nature. The sustainable materials used in the sukkah: reclaimed urban forest lumber, bamboo, and linen, remind us of our responsibility to live lightly on the earth.

• Reclaimed oak, cedar, bambo,+ linen, 8′ w x 10′ l x 9′ h
• Created for The Spertus Museum, Chicago
• Sukkah kit in development, custom designs available.

NER TAMID I

This eternal lamp is inspired by the idea of light representing the divine presence–perceptible, yet unknowable in form and origin. Here, the light source is hidden within the branches; one sees only reflections on the hammered brass column. The lamp speaks to our condition of experiencing divine light only through its reflection in our own world.

The olive branches forming the outside screen of the lamp recall the Biblical source of oil for the lamp. When hanging in front of the ark, the branches also remind us of the image of the Torah as a “tree of life.”

• Polished and oil rubbed brass, 12” h x 12”w x 6” d
• Commissioned by Minyan Ma’at Congregation, NY

MEZZUZAH: MUSEUM

This donor wall is inspired by the tabernacle in the desert. Built from donations from the entire people of Israel, the tabernacle defined and symbolized the community’s coherence. This composition weaves together the past (vertical staffs that echo the materials of the tabernacle) and the present (the translucent horizontal donor nameplates).

Rather than the typical empty plaques that define most donor boards, here the names are added in a pattern as donations are received, creating an ever-changing composition. The wall will eventually hold 613 names. Photos by Darris Lee Harris.

• Mixed media, 12’ l x 8’ h
• Commissioned by The Lieberman Center, Skokie, IL

NER TAMID II

This eternal light was commissioned for a newly-renovated sanctuary in a Modern Orthodox synagogue. The design of the lamp provides direct and reflected light, sparkling through the golden brass ribbons. A single light source provides ever-changing effects as you move around the fixture. Symbolically, the light recalls a cloud form, echoing the presence of the Shechinah hovering above the ark.

• Commissioned by Congregation Beth El Ateret Israel Newton, MA
• Satin and polished brass
• 30” w x 18” h x 12” d

DONOR WALL

This donor wall is inspired by the tabernacle in the desert. Built from donations from the entire people of Israel, the tabernacle defined and symbolized the community’s coherence. This composition weaves together the past (vertical staffs that echo the materials of the tabernacle) and the present (the translucent horizontal donor nameplates).

Rather than the typical empty plaques that define most donor boards, here the names are added in a pattern as donations are received, creating an ever-changing composition. The wall will eventually hold 613 names. Photos by Darris Lee Harris.

• Mixed media, 12’ l x 8’ h
• Commissioned by The Lieberman Center, Skokie, IL