Kavanah – Captain America and the Flash Under the Hupah

Congratulations and mazal tov to the newest Jewish family – Captain America and the Flash! Or, Hillel Smith and Joshua Matz – whose rings include the symbols of those heroes. I'm proud to share with you that I was commissioned to create their wedding contract, and I'm excited to share it with you here.


It's driven by the concept of kavanah — intention. It’s a reflection of how Hillel and Joshua feel about themselves and each other; it’s about their choices about life, work, and their relationship — and how they relate to the world around them. It’s made with the tools and ritual objects of their trades, and the ritual objects that unite you at your wedding. In the same way that Joshua (a lawyer) uses words and laws to fight for justice and Hillel (an artist) uses pigments and pixels to create beauty, so they take these rings and drink from a shared cup and stand under a hupah. Our tradition is about making intentional choices in who we are and how we lives our lives, and no moment exemplifies this more than the wedding – in front of family and friends, living your kavanah. Hillel and Joshua both invest so much in themselves and in each other and what they do: their passions, their intensity, their dedication... their ideas and words, and the actions that bring them to fruition.

Speech bubbles from the first mainstream comic book same-sex wedding
(and Kirby Krackle in the kiddush cup!)

The structure is meant to evoke the Art Deco feel of the Majestic Hotel, where they got married, in an abstracted hupah arrangement, incorporating the tools of their kavanah (actual and metaphorical): pencil and quill, scales, compass and calipers — as well as the ritual objects that will be a part of the wedding: the rings and the wine cup. The tools are all meant to apply to each of the grooms — pencils and quills are used to write words and draw pictures; compasses and calipers allow us to measure and to create, and so on.

The lower corners feature many of the places they have traveled together

The background includes cut-up maps featuring many of the places they’ve traveled to together, as a reminder that whatever place you are in, that’s your home: with each other. The hupah is a representation of that home, and your marriage is that home — wherever it may be. Hence the speech bubble reading “this is the place.”

Their papercut rings feature Captain America and Flash logos, just like in real life

The background comics include comics from Hillel and Joshua as well as the artist’s personal collection, particularly featuring Captain America and the Flash (in nod to their rings), the new Iceman series they’ve been reading together, a number of quotes from the first mainstream comics gay marriage in the Astonishing X-Men... and Spider-Man, Daredevil, Green Arrow, and so on.

Comics used include:

Captain America #322 (Oct 1986), #600 (Aug 2009)
Captain America: Bicentennial Battles #1 (1976) – Jack Kirby oversize special
Captain America: Sentinel of Liberty #1 (Sep 1998)

Captain America and Iron Man #634 (Sep 2012)

Daredevil #501 (Dec 2009), #430 (Oct 2003), #17 (Sep 2015)

The Flash #10 (Jan 2017), #21 (Jun 2017)
Flash Annual #3 (1989)

Iceman #1 (Aug 2017), #2 (Sep 2017), #4 (Oct 2007), #5 (Nov 2017)
X-Men #92 (Sep 1999)
Astonishing X-Men #51 (Aug 2012) – first mainstream comic book same-sex wedding

Web of Spider-Man #126 (Jul 1995)
Spectacular Spider-Man #189 (Jun 1992)
Spider-Man #80 (May 1997)

Justice #2 (Dec 2005)
Green Arrow #2 (Sep 2016), #3 (Sep 2016)

Justice; justice you shall pursue!

Earlier this year I completed a large commission that I mean to share out here in the blogosphere, but never did... so here it is! It was for a lawyer commissioned by his wife as a surprise gift marking 30 years in his own practice. And since we're all friends out here, I will tell you his name is Barry (that'll be relevant at a certain point).

In the Book of Amos we read the words, “Let justice roll down like a river, and righteousness like a never-failing stream” (Amos 5:24). The verse brings to mind a waterfall, with justice rolling down from above and spreading out in abundance in all directions on the earth. To represent Barry’s commitment to justice — to a life dedicated to ensuring it flows to all — I have created a papercut waterfall, with water cascading down and expanding in whirls and swirls. In the falling water are multiple instances of the Hebrew word for justice, tzedek, which also brings to mind the words in Deuteronomy which tell us, tzedek tzedek tirdof: “justice; justice you shall pursue.” At the top of the papercut, the source of this justice is seen in cut-up sections from Rashi’s commentaries on two relevant sections of the Torah: Shemot (Exodus) 20, which includes the ten commandments, and Vayikra (Leviticus) 19, which is known as the Holiness Code, and addresses the legal details of fair wages and employment as understood by our sages (Barry's particular areas of focus).

The papercut is backed with cut-up comics featuring the Justice League and Justice Society (most noticeable in the words “justice” placed behind the falling water) and Daredevil — a lawyer by day and costumed superhero by night, bringing justice to those that cannot find it in the legal system. It's is Barry's firm sense of ethics that I am representing through the heroes of these comics — who respect the law, but even more seek the justice it promises. There are also some pieces from Flash comics, whose titular hero’s alter ego also serves the law and is known to his friends as Barry (see? told you it would be relevant).

The background comics include:

Justice #3 (Feb 2006)
Justice, Inc. (Books One and Two, 1989)
Justice League #15 (Feb 2013)
Justice League of America #39 (Jan 2010)
Justice League Europe #20 (Nov 1990), #28 (Jul 1991)
Justice Society of America #16 (Jul 2008)
JLA: Classified #15 (Oct 2006), #24 (May 2007), #26 (Jul 2007)
Daredevil #51 (Nov 2003) #14-16 (Aug - Oct 2012), #27 (Aug 2013), #29 (Sep 2013), #1 (May 2014)
Flash #309 (May 1982), #18 (Nov 1988), #242 (Sep 2008)
Flashpoint #1 (Jul 2011)

Justice
24" x 36"
Mixed media
2014

On Being the URJ Biennial Artist-in-Residence

What an incredible experience. Five thousand Reform Jews from around the world (mostly from North America) gathering together in San Diego for the 2013 URJ Biennial, where I was the artist-in-residence.

Getting started in my mobile studio.

I had three things to get done: the first was to create an original artwork inspired by Biennial, created entirely at Biennial in the kikar (the “public square”). The second was to share my process with anyone and everyone who came by my mobile studio, and the third was to lead a workshop in papercutting and help people make their own art.

The first piece cut.

I’d never had to work in public in this way before – and it was certainly a challenge. It’s one thing to be working in the safety of my studio, where I can make decisions (and mistakes) on my own and not worry about how messy the process can be. To be exposed like I was, with people watching me sketch and cut and search and paste... it was unnerving at times, but energizing at others. The hardest part might have been finding enough time to keep working on the papercut while talking to so many people who wanted to hear about my process.

Left, the mountain begins to take shape. Right: one of the first background pieces.

As for the workshop: three dozen people joined me to express ourselves through the cutting of paper. Margaret and Lou and Shoshana and Joe and Robin and Wilma and Heidi... so many wonderful budding artists. It was both exhausting and invigorating. We had four hours together, and I am so proud of the work everyone made.

Photo from the URJ

Photo from the URJ

And somehow it happened: although Wednesday morning I had only a large blank sheet of cold-press watercolor stock, by Saturday night I had completed “Gathering.”



Wednesday I studied and sketched, Thursday I cut paper to create the top layer, Friday I disassembled and then reassembled pieces from comic books and maps and other ephemera to create the background, and Saturday after my workshop I put the last pieces together.

The idea inspiring the piece is simple, really – I came to see the Biennial as a “Sinai moment,” all of us gathered together to worship and receive Torah and study and learn.



As with all of my work, words from Torah informed the piece. In Exodus 19:18 we read, “Now Mount Sinai was all in smoke, for Adonai descended upon it in fire, and the smoke rose like the smoke of a kiln, and the whole mountain trembled violently.” That’s the way I like to think of Revelation – as a kiln. The smoke of God’s presence surrounding the top of the mountain reminds us that we are not just gathering, but creating. We came together to discuss strengthening our movement and building a vibrant and relevant Jewish future.



The mountain itself is built out of the honeycomb iconography of the Biennial, with the riot of colors and textures underneath reflecting the content of the sessions, the sanctity of our prayers, and the specific geography of Biennial. The space surrounding the mountain is made of cut-up books and ephemera, including a dictionary and an encyclopedia, with references to Sinai, San Diego, Torah, music, prayer and the Reform movement.

The completed papercut: "Gathering"

I am grateful to have been given the opportunity to serve as Biennial artist-in-residence; it was a pleasure and a privilege to study and teach and learn and create with this community.

“Gathering” includes these comics (and more) in the background:

• Action Comics #25 (Jan 2014)
• Animal Man #2 (Dec 2001)
• Batman: The Black Glove (2008)
• Captain Atom #3 (Jan 2012)
• The Flash: Rebirth #1 (June 2009)
• Green Arrow #22 (May 2003)
• Green Arrow and Black Canary #8 (Jul 2008)
• Green Lantern: Fear Itself #1 (2011)
• Infinite Vacation #5 (Jan 2013)
• Invincible Iron Man #25 (Aug 2010)
• Justice League #1 (Oct 2011)
• Metamorpho and Aquaman #1 (Oct 2007)
• Supergirl and the Legion of Super-Heroes #25 (Feb 2007)
• Testament #3 (Apr 2006)
• Wonder Woman #10 (Aug 2007)

“Gathering” also includes pieces of the following:

• The Future of Judaism in America, by Eugene Kohn. (The Liberal Press, New York, 1934.)
• Union Hymnal, Third Edition. The Central Conference of American Rabbis, New York, 1958).
• Pathways Through the Bible, by Mortimer J. Cohen. (The Jewish Publication Society of America, New York, 1966).

The final work will hang in the URJ’s New York offices, and for a limited time we are making archival giclée prints available to anyone interested in having a reminder of Biennial for themselves. The prints measure 16” x 20” and will be mailed in an artwork tube; the price is $120.00 (including domestic shipping), and the proceeds are being split with the Union for Reform Judaism. To order, please visit my online store.

Welcome aboard, Gabriel!

Yesterday we welcomed a new member of the Jewish community – Gabriel Max Roher-Smith – with a ritual brit at the home of his parents. I was pleased to be able to make this papercut marking the date of his birth and to present it to his parents at the simcha.

The rainbow bands are made of cut-up comics featuring (in descending order) Spider-Man, The Thing, Kid Flash, Hulk, and Superman.

"Number Theory"

I'm pleased to be donating a papercut to ANOTHER fundraising auction happening tomorrow – this one being held at Brave New World Comics on Free Comic Book Day (tomorrow, May the Fourth) to support the Newhall Public Library!

"Number Theory" is built on a structure of the ten basic Hindu-Arabic numerals (0123456789), and it's about the power of individuals working together. Each person has their particular strengths and skills and backgrounds, and they become magnified by the presence of others. We can all be heroes, and so the background texture for the cut is a collection of superheroes, representing the strength of diversity.

Interested in bidding? You do NOT have to be present to bid; just call the shop at 661 259 4745!

Number Theory
10" x 18"
Mixed media

"In the Garden"

“In the Garden” was commissioned by a patron in New Zealand — it's a diptych featuring two trees from the Garden of Eden: the Tree of Knowledge and the Tree of Life.

The trees are similar in structure, underscoring the ambiguity of whether these trees were two different trees or, in fact, the same tree — as has been posited by scholars over the years.

On the left, the Tree of Knowledge is backed with cut up texts related to the tree and the knowledge that came from it; it also features small fruits to tempt Eve and Adam. There are glimpses of the Bible, of encyclopedia entries and textbooks — with references to apples, belief, and the traditions that have sprung from this story.

On the right, the Tree of Life is alive with natural greens and browns from cut-up comic books and other textures, featuring three red fruits. The tree is a study of life, for while it is composed of wood and leaves, those are representations on paper which only symbolize those natural elements; and yet, that paper is made from wood, which of course is a more literal backing of the tree’s forms.

Comics used include:

• Animal Man #3 (January 2012)
• Azrael #3 (July 2009)
• Batman #493 (May 1993)
• Batman: Lovers and Madmen (2008)
• Daredevil: The Man Without Fear, v2 #56 (March 2004)
• Flash Annual #2 (1988)
• Green Lantern Corps #47 (June 2010)
• JLA: Liberty and Justice (November 2003)
• The Lone Ranger #25 (January 2011)
• The Power Company #4 (July 2002)
• Powerless (2005)
• Shazam! Power of Hope (November 2000)
• Teen Titans #4 (December 2003)
• Trinity #23 (November 2008)
• Vermillion #4 (January 1997)
• The Last of the Greats #5 (February 2012)

Other texts used include:

• Cavins, Dr. Lorimer V., ed. The Wonderland of Knowledge, Volume 1. Publishers Productions, Inc., 1938.
• Cohen, Mortimer J. Pathways Through the Bible. JPS, 1946.
• Cohen, The Reverend Dr. A., ed. The Soncino Chumash. Soncino Press, 1947.
• Emerson, Ralph Waldo. Essays by Ralph Waldo Emerson. Thomas Y. Crowell Company, 1951.
• Farb, Peter. LIFE Nature Library: Geology. TIME-LIFE Books, 1963.
• Holst, Bernhart P., ed. World-Scope Encyclopedia, Volume 1. Readers League of America, 1945.
• Raisin, Dr. Jacob S., Ph.D. The Haskalah Movement in Russia. JPS, 1913.

"MaAriv Aravim" print in online auction raising money for Brandeis Hillel Day School

A giclée print of "MaAriv Aravim," one of the sixteen papercuts in my "Paper Tefillah" series, is now available in an online auction supporting the Brandeis Hillel Day School in San Rafael, California. Proceeds from the auction will directly benefit academic programming and faculty support at the school.

To place a bid, visit Bidding for Good.

"MaAriv Aravim" is the nighttime prayer that praises God for bringing on the evening, for ordering the stars and the planets, for the cycle of the seasons and the immutable processes of the universe. We praise God for keeping the heavenly bodies spinning in their orbits, and the papercut is designed to reflect these orbits. At the center is a hamsa, an ancient symbol of heavenly protection, with a mystical eye in the center backed with words from the prayer itself.

The hamsa can be seen as a representation of the hand of God, rolling light into darkness and darkness into light. The piece is composed of various space-related and dark-toned comics, to convey a sense of the evening. One of the main comic book heroes used in the background is Cloak, who harnesses the power of darkness to fight evil alongside his partner Dagger. The piece also features some comic captions which are recontextualized to explore God’s role and presence in the universe.

Seven to Seventy

Completed a new piece tentatively titled "Seven to Seventy" (click the pix to see it larger). It's a revelation piece, with a lot of midrash in it. Look for seven bolts of lightning, Captain Marvel, pieces from a chumash index, watercolor, and more. Here are some close-up shots (click make them larger):

I expect this will be in my September show in Northern California -- details will be posted here once I get them settled.

"Number Theory: Heroes"

Just completed this piece to submit to Deloitte -- yes, my work life and art life have come together in a weird venn diagram of awesomeness.

So I made this piece specifically for Deloitte, as part of the Deloitte University project -- they're planning to decorate the campus with artwork created by the people of Deloitte. Here's what I said in my submission:

My art is a blending of traditions, using the mythos and imagery of comic books to explore themes of identity and connection to the world around us.

In this piece, which I created specifically for submission to Deloitte University, the papercut is built on a structure of the ten basic Hindu-Arabic numerals (0123456789), symbolizing the outward appearance of an organization built on – and dedicated to – numbers. But of course, Deloitte is much more than that – it is an organization of individuals, who each bring with them particular strengths and skills and backgrounds and make the organization more than the sum of its parts, and more than just about “numbers.” We are, all of us, heroes to ourselves and to others; it’s part of our shared values that we be the best we can be, and that we help others to do the same. And so the background texture for the cut is a collection of superheroes, representing our strength and diversity and commitment to individual performance, positive team dynamics, and joint success.

And yes, I do *love* where I work.