here I worked the background of the chrysalis.
let it be noted that a fascinating series of transformations occurred after the caterpillar pitched himself and before this stage of the chrysalis– and I intend to draw them–but will probably put them to their own page with a link to view it.
in the last two images I brought out a charcoal pencil and eraser for the black areas. not only do I mix my media but I take a departure from simply representing the image to interpreting it in a way that isn’t too abstract, just playful.
the menorah … “is to be made of sixty-six pounds of pure gold. see that you make them according to the design being shown you on the mountain.” Sh’mot (Exodus) 25:39-40.
on one level the construction of the menorah is exact, and drawing an image of it is relatively easier than drawing light–for light is not static, it is a phenomena, its ethereal; it has an effect on what it shines on. hence when we realize that the Shekinah of G-d– represented as the menorah’s light– is present, we cannot avoid it having a profound effect on us.
these two paintings were done in May-July 2015.
since the time I took up the pen and brush again I have been drawn to the menorah as a subject, and studied the Torah for its description– mainly in Exodus 25, and Exodus 37. here is a concise entry of the menorah by Tracey R. Rich at Judaism 101.
I found it intriguing that the almond blossom is used to describe the bulbs and branches. (the almond staff of Aaron that budded a branch has great significance.) while there is no longer a temple in Jerusalem for the menorah to rest, one enduring purpose is to give light to man of the presence of Hashem throughout the world.