Circumglobal Flight of a CyberangelWhile creating the
LightsOROT exhibition at MIT, I accepted the position as Professor and Chairman of Fine Arts at Pratt Institute and became a frequent flyer on the Boston-New York shuttle. At Pratt, I introduced and taught the first computer graphics course there, “Fine Arts with Computers,” and began my digitized homage of Rembrandt series exhibited in my solo show,
Computer Angels, at the Art Gallery of the State University of New York at Stony Brook. More than forty museums worldwide added my serigraphs, lithographs, and etchings exploring digital technologies and global systems to their collections. I was Art Editor of
The Visual Computer: International Journal of Computer Graphics that published my paper, “Art with Computers: The Human Spirit and the Electronic Revolution.”
A powerful force shaping the digital age is globalization, free trade and the free flow of information, and the range of human reactions to them. Thomas Freidman argues in
The Lexus and the Olive Tree: Understanding Globalization, that the challenge in this era of globalization is to find a healthy balance between preserving a sense of identity, home and community and doing what it takes to survive within the globalization system. Digital-age art has the power to negotiate connections between global and local, between high tech and high touch, between Lexus and olive tree.
My global telecommunications artwork had its origins in a very local setting. It began in a small Hasidic synagogue in Brooklyn while I was listening to the chanting of the weekly biblical portion from the handwritten Torah scroll. I listened to the ancient Hebrew words, translating them into English in my mind. They told of the prototypic artist Betzalel being filled with divine spirit, wisdom, understanding, and knowledge, and talent for all types of craftsmanship to make all manner of
MeLekHet MakHSheVeT (
Exodus 35:33). Usually translated as “artistic work,” it literally means “thoughtful craft.” In a sudden flash of insight, it dawned on me that the biblical term for “art,”
MeLekHeT MakHSheVeT, is feminine and that its masculine form,
MaLakH MakHSheV, literally means “computer angel.” Art is a computer angel when biblical Hebrew meets modern Hebrew in a digital age. As soon as the synagogue service came to an end, I ran to my wife and explained to her that as a male artist my role in life is to make computer angels.
I went to the print room of Metropolitan Museum of Art where I selected angel images from Rembrandt’s drawings and etchings to digitize. I wanted to applaud Rembrandt by having his winged angels wing their way around the world. I phoned AT&T and asked if I could use their telecommunications satellites to send a cyberangel on a circumglobal flight. “You have what to send around the globe?” was the usual response as I was transferred from office to office. Incredulity was turned to interest when I reached the public relations people who liked the idea. AT&T agreed to sponsor my memorial faxart event.
I flew to Amsterdam to meet with Eva Orenstein-van Slooten, Curator of Museum het Rembrandthuis, the artist’s home and studio. With trepidation, I proposed having a fax machine placed on Rembrandt’s 350-year-old etching press to receive the angel that would fly there from New York. She thought it was a wonderful idea. It would make her museum, a quiet place, come alive as a virtual Rembrandt angel rematerialized in the place he had originally created it.
On the morning of October 4th, the angel ascended from the Chippendale top of the AT&T building in New York. It flew to Amsterdam to Jerusalem to Tokyo to Los Angeles, returning to the former New Amsterdam on the same afternoon. It took an hour in each city to receive 28 pages of angel fragments and fax them on to the next city. After a five-hour flight around the planet, the deconstructed angel was reconstructed for the fifth time at its starting point. When it passed through Tokyo, it was the already the morning of October 5th. The cyberangel returned to New York on the afternoon of October 4th, five hours after it had left. It had entered tomorrow before flying forward into yesterday.
The cyberangel was received at Rembrandt’s house seconds after it left New York. Ms. van Slooten fed the 28 sheets back into the fax machine on Rembrandt’s etching press and dialed the fax number of the Israel Museum in Jerusalem. She then assembled all the fragments into a whole 4 x 6 foot angel.
Jerusalem was the appropriate next stop since it is an angel from a biblical scene. It was evening when the cyberangel arrived. Amalyah Zipkin, Curator of European Art at the Israel Museum, sent me a description of the angel coming and going. She wrote:
"There is something appropriate in the illogic of the event: here we were in Jerusalem, the Holy City of 4000 years of turbulent history, huddled next to a fax machine in the mail room of the Israel Museum. It was a few days before Yom Kippur. Somewhere out there in technological space, a disembodied angel – computerized, digitized, enlarged, quartered, and faxed – was winging its way towards us from Amsterdam. This angel had been drawn in the 17th century by a Dutch artist with the instantly-recognizable mass-media name of Rembrandt van Rijn, and had undergone its electronic dematerialization 320 years after the artist’s death at the hands of a New York artist and technology freak who had the audacity to make the connections: Rembrandt, the Bible, gematria, the electronic age, global communications, the art world, and the fax machine. Like magic, at the appointed hour the fax machine zapped to life and bits of angel began to materialize in Jerusalem. Photographs and the attendant PR requirements of contemporary life were seen to, and the pages were carefully fed back into the machine. We punched in the Tokyo phone number and the angel took technological flight once more."
It was almost dawn on October 5th when the angel arrived in Tokyo in the Land of the Rising Sun where fax machines are made. Ikuro Choh of Tokyo National University of Arts and Music received the angel and revealed its full image by assembling the 28 sheets on the ground among the ancient pillars in Ueno Park. He then disassembled them and attached all the sheets end-to-end in a long ribbon ascending the stairs and entering into a centuries-old religious shrine built in traditional pagoda style. The old Tokyo site was selected to carry a spiritual message of electronic age homage to tradition. With the sun rising over Japan to begin a new day, the faxart angel rose over the Pacific Ocean to fly into yesterday. It arrived in the City of the Angels at 2:40 p.m. on October 4th. The angel came together once again at the Museum of Contemporary Art in Los Angeles on the day before it had visited Tokyo. Cyberangels can not only fly around the globe, they can fly into tomorrow and back into yesterday. They reshape our concepts of time and space.
Collaborating with RembrandtAfter having made arrangements for the cyberangel to light on Rembrandt’s etching press, I walked across Amsterdam along the canals from the Rembrandthuis Museum, the house on Joodenbreestraat (Jewish Broadway) where Rembrandt had lived, to Westerkerk (West Church) where he was buried. There was no tombstone in the church courtyard marking his grave. No sign in or around the church indicated that it was the final resting place of the great master. On the sidewalk in front of the church, however, a bronze life-size statue of Anne Frank stood watch. She had been hiding in a room overlooking the church courtyard until the Nazis discovered her and carted her off to Bergen-Belsen to die. A postcard reproduction of a Rembrandt painting of an old Jewish man that she had tacked to the wall remained behind.
From Westerkerk, I took a tram back to my mother-in-law’s apartment. I had traveled with my wife, Miriam, to Holland to be with her family during the shiva, the seven-day period of mourning for her father. He had suddenly died of a heart attack in Suriname, the former Dutch colony in South America where Miriam was born. It was the first time I had been outside of the United States. People who came to pay their respects told Miriam how lucky she was that her father had died a natural death, unlike her grandfather and her grandmother and her aunts and her uncles and her cousins. The Nazis murdered them all. Not one family member that stayed in Holland survived.
I was fortunate to have been born in Brooklyn in 1937, the year the aspiring artist Hitler launched the most virulent attack ever mounted against modern art by opening the exhibition Entartete Kunst (Degenerate Art) in Munich. This show was aimed at the defamation and derision of new directions in art that he called Jewish art even when Gentiles made it. His aesthetic solution for restoring the health of European folk was to rid the world of Jews and degenerate modern art. He almost succeeded. It is symbolic of the moral bankruptcy of Europe that the French and German Nazis herded the Jews of Paris into courtyard of the Louvre. From that shrine to European culture, they shipped them to gas chambers and crematoria. Perhaps Duchamp deeply understood some of the darker messages of premodern European art when he drew a mustache on Mona Lisa and exhibited a urinal as a work of art.
My childhood memories of first seeing Rembrandt paintings at the Metropolitan Museum of Art were tied to horrific images of a Jew being murdered. The dread of being lost in the maze of rooms leading to the Rembrandts made my heart beat in fear. Each room was filled with frightening pictures of a young Jewish man suffering, a wreath of thorns crowning his bloodied head, gangrenous hands pierced with spikes, Roman soldiers nailing him to a cross for the crime of being called King of the Jews. Mixed with execution scenes were the pietas, paintings of an anguished Jewish mother holding her dead son. The varnished umbers cast a dark and dreadful glow. I sensed in horror that these pictures were visual lessons instructing people to torture and kill Jews. They screamed out, “Kill him! Kill Mel Alexenberg, Menahem ben Avraham ben Mordecai ben Elhanan, the Jew!” I raced through the museum like a gazelle fleeing a hungry lion until I fell into the welcoming arms of Tahitian women. Out of breath, I was comforted by their soft bronze breasts and the fragrance of the flower petals in the baskets they held out to me. The room with Gaugin’s paintings was my hideout, my sanctuary. I felt the serenity of Gaugin’s tropical colors wash over me, cleansing me, reviving me.
I relived my childhood terror four decades later as I walked through the Met to the printroom to select images of Rembrandt’s angels to digitize. What I sensed as a child was true. From the Crusades to the Inquisition to the pogroms to the Holocaust, Europeans learned their lessons well. They drenched their continent with Jewish blood. The South Pacific light in Gaugin’s paintings saved me from the European darkness. I recalled reading how Joseph Goebbels, Reich Minister of National Enlightenment and Propaganda, led Hitler through a warehouse of “degenerate art” to convince him to sell off the “garbage” rather than burn it. An auction was arranged in Switzerland. Among the fifteen paintings bought by the Belgians was Paul Gaugin’s From Tahiti. Gaugin’s “deranged vision” was traded for Nazi guns.
When I reached the printroom, I was seated at a large oak table. In a quiet ritual, one Rembrandt at a time was placed on a delicate easel in front of me as the tissue paper protecting the picture was slowly removed. As his etching Abraham Entertaining the Angels was uncovered, I saw that only two of the angels had wings. The figure facing Abraham had no wings. Perhaps Rembrandt wanted to show that although they looked like men to Abraham, they were really angels in disguise.
The Torah (
Genesis 18:1-8) relates how three angels disguised as men appeared to the Abraham while he was sitting at the entrance to his tent in the heat of the day. When he looked up and saw them a short distance from him, he ran to greet them and invited them to stay to eat with him. He rushed to his wife, Sarah, and asked her to bake cakes for their guests. Then Abraham ran to the cattle to choose a tender, choice calf. The Midrash questions why Abraham ran after the calf. The calf ran away from him into a cave. When inside, he discovered that he had entered the burial place of Adam and Eve. He saw intense light emanating from an opening at the end of the cave. He was drawn to the light. As he approached, he saw the Garden of Eden through the opening. This deeply spiritual person, the patriarch Abraham, found himself standing at the entrance to Paradise. About to cross over the threshold into the pristine garden, he remembered that his wife and three guests were waiting for lunch back at the tent. What should he do? Should he trade Paradise for a barbeque? The Torah tells us that he chose to return to the tent and join his wife in making a lunch for the three strangers. They sat together in the shade of a tree and enjoyed the barbeque. We learn from this legend that we ourselves create heaven or hell in our relationships with our spouses, children, friends, neighbors, and strangers. Visions of Paradise far off at the end of a cave or in some heavenly realm above are mere mirages or fraudulent lies. Abraham knew that he and Sarah had the power to create heaven together in their tent.
The museum supplied photographs of etchings and drawings of winged people that Rembrandt had made to represent angels. I digitized them and began to manipulate them with computer graphics programs with the intention of using them in paintings and prints. My sudden interest in computer angels came at a time when I was involved in making a series of paintings of storefronts. I got into storefronts as a result of a discussion with Louise Nevelson on the ugliness of Brooklyn. After living for seven years in the bright light of the Negev mountains, finding myself in Brooklyn gave me aesthetic blues. The Brooklyn sky looked sidewalk gray. The sidewalks were dirty, the buildings drab. I missed the flowers that bloomed beside the Negev streams after the first winter rain: red anemones, poppies with paper-thin petals, black irises with sun-yellow cores, and clusters of bell-shaped flowers named
iyrit, my daughter’s name.
Subtle Bits of Brooklyn BeautyI met Louise Nevelson in her elegantly furnished home on Mott Street, where SoHo meets Chinatown and Little Italy. As head of the art department at Pratt Institute, I had come to invite her to speak at commencement. While complaining about my unsightly neighborhood, she pointed to a rocking chair across from where I was sitting. She told me about an art critic who had come to interview her for
ARTnews and had the chutzpah to ask her why she owned such an ugly, kitsch rocking chair. Louise lectured me in her deep voice, “ I told him that he should see the amazing shadows that the rocker casts each morning when the sun streams in. Mel, you need to be receptive of subtle bits of beauty, and they will jump out at you even on Brooklyn streets.”
They didn’t quite jump out at me. They floated towards me in slow motion as in a dream. Maybe more like the after-image formed when you stare at a green, black and orange American flag and see a red, white, and blue one when you look away. It happened early one Sunday morning while I was out on Avenue J buying fresh-baked bagels and the Sunday paper. For some reason, I turned around as I left the bagel shop. I stopped and stared at the storefront as if I had seen it for the first time. Neon Hebrew words danced above the food-filled windows.
I rushed home, ate breakfast, and returned to Avenue J with my camera to photograph the food stores. Next to the bagel shop was Isaac’s kosher bakery topped with the words chalav yisrael (milk under rabbinical supervision all the way from cow to cake). In the three blocks between the train tracks and Coney Island Avenue, there were more bagel shops, kosher meat markets, kosher fish markets, kosher cheese stores, kosher take-out food places, kosher doughnut shops, and fruit and vegetable stands run by Jewish immigrants from Odessa. I photographed two kosher Chinese restaurants with oriental-sounding names: Glatt Chow and Shulchan Low (shulchan means table in Hebrew, glatt is a Yiddish word referring to “unblemished lungs,” a sign of especially kosher meat). I finished my roll of film on three kosher pizza parlors each named for a different city in Israel: Netanya Pizza, Jerusalem Pizza, and Haifa Pizza.
After I finished Avenue J, I went kosher-store hopping throughout Flatbush, Boro Park, and Crown Heights. I photographed more than one hundred storefronts. It would seem that Judaism was about food. Kosher food stores were far more conspicuous than synagogues tucked away in what appeared to be private homes. These stores, crowned with Hebrew neon, seemed to me to be strangely out of place. They looked as if they had been plucked up from a street in Israel and plopped down in America by a band of mischievous angels.
I enlarged some of the storefront photographs on a copy machine and then repeated enlarging the enlargements until they were three feet high. Since people do not usually stop and stare at storefronts but walk by them, I cut the images of a row of storefronts in strips, repeated the images to give the feeling of movement, and glued them onto a Masonite panel. I painted over the fragmented storefronts with layers of acrylic paint creating tension between the hand-made quality of the textured surface and images generated by a copy machine. I also made oversized Kodaliths (high-contrast negatives) of other storefronts and silk-screened printed alternating images of negatives and positives on canvas. Two rows of storefronts were printed stacked horizontally as if the viewer was hovering over the street and could see both sides of the street at the same time. I painted over the black printing ink with bright acrylic colors. Although the paintings looked finished, subconscious nagging told me that something was missing, but I hadn’t the slightest idea what it was. I wrapped them and stored them away.
It was a few weeks later, while hearing the Torah reading in Rabbi Rutner’s modest synagogue on the ground floor of his home around the corner from Avenue J, that the hokhmah flash of insight revealed to me that “computer angel” was the masculine form of the biblical term for “art.” Having abandoned my storefront paintings, I began working with digitized images of Rembrandt’s angels. I created the
Subway Angel series in which I silk-screened cyberangels and spiritual messages on subway placards advertising everything from muffins to airlines. I also created lithographs, serigraphs, etchings and other paintings of angelic activities from Wall Street to the Holy Land.
On
simkhat torah, the holiday celebrating the ending and beginning of the annual Torah-reading cycle, Miriam and our youngest son, Moshe, spent the celebration in Crown Heights with the Hasidic community of the Lubavitcher Rebbe. After the evening prayers, Torah scrolls dressed in velvet mantels and capped with silver crowns where removed from the ark. A scroll in a royal blue mantle embroidered with golden lions was placed in my arms. Moshe petted the lions and latched on to the bottom of the mantle as we danced away together. The floor rumbled, as the dancing grew swifter and the singing louder. We were swept away into a line of dancers flowing from the feverish air of the synagogue out into the chill of a Brooklyn night. Meandering through the crowded street, we soon found ourselves back in the synagogue. Moshe and I kissed the Torah as I handed it to a young man who danced away with it in his arms.
As I sat down to rest, a man with an unruly beard and ruddy tan complexion greeted me in Hebrew. He had come from Afula in Israel to be with the Rebbe for the holiday. He asked me what I did. I told him I was an angel maker, an artist who created spiritual messages. I explained that term for art in the Torah,
MeLAekHeT MaHSheVeT, is the feminine form of computer angel,
MaLAkH MaHSheV. He added that the word
MAakHL (food) has the same letters as
MaLAkH (angel). The biblical words for “angel” and “food” are written with the same four Hebrew letters to tell us that angels are spiritual messages arising from everyday life.
I immediately knew what was missing in my paintings of food store facades – angels! My new insight linked two disparate realms in what Arthur Koestler calls “bisociation” in his book on the creative process,
The Act of Creation. He makes the distinction between routine skills of thinking on a single plane and the creative act culminating in a new relationship formed at the intersection of two different planes of thought.
Holiness of Wine/Women/SongThe man from Afula continued to explain that the numerical equivalent of the Hebrew words for “angel” and “artist” both equal 91, mystically uniting them. Artists can be vessels to receive angels (divine inspirations). Artists can also be angel-makers, creating artworks that release new angels (spiritual messages) into the world for others to receive. He pointed out that the Hebrew word for “spiritual” is essentially the same word as “material” spelled backwards. If we shift our perspective, we can transform our encounters with the material world into spiritual ones. Judaism’s goal is to make all aspects of our lives holy and our everyday world a dwelling place for God. “Wine, women, and song” is an expression for crass materialism among English speakers. In Jewish life, kiddush (sanctification) is the blessing made on drinking wine, kiddushin (holy vows of matrimony) is the basis for intimacy with a woman, and Song of Songs is called kodesh kodeshim (holy of holies), traditionally regarded as the most sacred book in the Bible. Judaism strives to transform the grossest materialism into the most refined spirituality.
Returning home from our holiday in Crown Heights, I pulled my abandoned storefront paintings out of storage. I understood that bringing computer angels into these paintings would raise them to a new level of significance. They would express Hebrew linguistic connections between food and angel, between artist and angel, and between the material and spiritual realms. I glued printouts of digitized images of angels flying out of the storefronts in my paintings. I cut out large computer angels that had been lithographed on fine hand-made paper and pasted them onto the screen-printed canvases. They appeared to be hovering over the street between the two rows of stores. The paintings moved beyond being mere illustrations to becoming works of art that evoked fresh relationships between material and spiritual worlds. In addition, the playful juxtaposition of the mundane with the holy in Western art, kosher food stores in Brooklyn with Rembrandt drawings, created ambivalence between homage and contempt for art made by the hand of a master on the continent that created the culture of Auschwitz.
In
Fixing the World: Jewish American Painters in the Twentieth Century, with my painting of a cyberangel emerging from a storefront on Coney Island Avenue reproduced as the cover of the book, Ori Soltes writes: “Alexenberg appropriates an iconic image from the Christian artistic tradition: Rembrandt’s angel, who wrestles with Jacob. But he transforms and distorts it, digitalizing and dismembering it, transforming the normative Western tradition within which he works as he rebels against it.”
Jerusalem Landholders in Utah
Skip's Dock on Galilee Straits welcoming people to Jerusalem, Rhode Island
Country Store in Jerusalem, Vermont
Participatory Art Linking the 20 Jerusalems in USA with the Original in Israel
Mumbai (India)
Just as the world’s acquiesence to Hitler’s raining bombs on the village of Guernica gave him the license to proceed with preparing for WW II and exterminating the Jews of Europe on his way to global conquest, the world’s indifference to the thousands of rockets launched against Israel by Iran’s proxy armies, Hamas and Hizbullah, are empowering Ahmedinejad to incinerate the Jews of Israel as a prelude to his global jihad.
Two other artists overheard my hour-long discussion with the German carpenters and offered to help me build the sukkah. Uri Levy, a systems artist from MIT, and Doron Gazit, and Israeli balloon artist, helped me. As we started to build the sukkah, a Japanese artist passed by and offered to help. Tsutomo Hiroi, Japan’s greatest kitemaker who would fly his giant dragons in the Bavarian sky, was the most skilled carpenter of the four of us. He helped us build an elegant and strong structure. As we worked, Hiroi stood inside the sukkah, looked around at it, and chanted, “Ohhh, beautiful Japanese building. Ohhh, beautiful Japanese building.” He saw its resemblance to the delicate geometries of rice-paper covered wooden frameworks found in traditional Japanese dwellings. I unsuccessfully tried to convince him that we were building a Jewish building to look like a giant striped prayer shawl. When the sukkah was completed and we hung the mega-tzitzit from the four corners of the structure, he was willing to accept that we had built an Asian building. Israel is on the west coast of Asia while Japan is on its east coast.
The next year, I marked the parentheses of Asia by exchanging sand from the beach in Tel Aviv with sand from the beach at the fishing village of Chikura that I visited with Hiroi. I photographed a parenthesis mark that I etched in the damp beach sand with a stick near the surf line at the Pacific Ocean. I filled the etched arc with yellow Tel Aviv sand. I flew back to Tel Aviv to etch a matching parenthesis mark in the sand at the Mediterranean shore that I filled with black volcanic sand that I had brought to Israel from Chikura. I make a serigraph from the photographs showing the set of two parentheses on stripes of Israel’s sky, surf, and sand facing stripes of Japan’s sky, surf, and sand. The “Parentheses of Asia” serigraph is in the collections of the Emperor of Japan, an oceanographer, and the President of Israel.
It was intolerable for me to look at the photographs that I took of my earth art memorial on the verdant grass of Dachau with lovely bushes growing up against a bright blue sky. They failed to give any indication of the horror of the place. After years of not showing these photographs, I realized that I could transform a sunny day into a dark day in hell by removing my slide from its frame and printing it as if it were a negative. Printing the positive slide resulted in a negative image in which bushes become rising flames and sky and grass different shades of deadly brown.
The rainbow of seven human-size Styrofoam Hebrew letters that were slated to announce themselves in the Bavarian sky and pierce the Iron Curtain could not fly free on the European continent drenched in Jewish blood. They would fly free in the Tzin Wilderness separated from the Dead Sea by the Negev desert that drops down to the lowest place on the planet through two colossal craters. This was the entry point into the Promised Land taken by the spiritual leaders of the twelve Israelite tribes to spy out the land. “The men headed north and explored the land from the Tzin Wilderness all the way to Rehov” (Numbers 13:21). 
In 1969, I submitted my research on the psychology of aesthetic experience in art and science to my interdisciplinary doctoral committee at NYU: Prabha Sahasrabudhe, art education professor, Janice Gorn, psychology professor, and Morris Shamos, physics professor and president of the National Academy of Sciences. A week after having earned my doctorate, I was on an El Al plane to Israel with my wife and our three children to accept a teaching and research position at Tel Aviv University. Except for a week in Holland two years earlier, this was my first trip abroad.
On a shelf in his laboratory, he had an old book, The Eruption of Krakatoa and Subsequent Phenomena, published in 1888 by the Royal Society of Great Britain. When he looked in this book, he realized that all the information he needed was there. It was fortuitous that the eruption occurred when Venus was eclipsed by the moon. Scientists throughout the world had placed tide-gauges to measure the effect of the transit of Venus on the oceans. They knew that the alignment of the moon and Venus would cause extra-high tides. Ewing enthusiastically explained the beauty and simplicity of integrating information recorded by different people seventy years earlier into a unified theory of resonant coupling. “It was possible in that one night to move into the study of surface waves, to understand it fully, to write the classic paper on it, to type it up, to put it in the mail. All in one night! Well my friend, that is living. I don’t know any thrill that anybody can have that will compare with that. Do you?”
Working with nuclear physicists at Brookhaven National Laboratories, I created a series of paintings exploring the paths of subatomic particles moving in a bubble chamber. My representation of motion of subatomic particles developed into presentations of motion in real space-time through my kinetic participatory “Multiform” artworks. Spectators became active collaborators in creating the artwork by manipulating knobs to reveal different colored surfaces of multifaceted prisms. In 1967, I had a solo exhibition, Multiform of 531,441 Paintings, at the Art Gallery of Adelphi Suffolk College on Long Island.
My childhood curiosity about what went on under logs and rocks in the forest followed me to college where I studied biology and wrote my thesis on the ecology of terrestrial isopods. Terrestrial isopods were my old summer friends – sowbugs – land-adapted crustaceans breathing with gills that I had found surviving in the damp habitat under decaying logs in the forest. I found that they even lived under discarded cabinet doors on an empty lot in Queens. My scientific studies on the interrelationships between sowbugs and other organisms in their shared environment developed my systems thinking and ecological perspective that permeates my work as an artist. 
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