“I
discovered that the Hebrew letters are not merely a convenience of
language, but are the essence that sustains the structure of the
world.”
Martin
Mendelsberg
Martin Mendelsberg is a graphic artist, typographer and educator. He has exhibited in New Zealand, Australia, Canada, China, Russia and in the United States. His work can be found in the permanent collections at Yale University, The New Zealand National Gallery, Victoria University School of Architecture and The Center for the Study of Political Graphics. It was a privilege to ask Mr. Mendelsberg a few questions recently.
Over
twenty years ago I became attracted to the Hebrew letterform; and
after twenty years I feel I am merely beginning to experience
the surface of their beauty. Your work reminds me of the transcendent
nature of Hebrew by the way you integrate the ancient text with a
style that is both contemporary and relevant to our time. Will you
tell me about you first experience with the ancient text?
As
a ten year old boy growing up with old and new world Jewish rituals,
practice and culture I became attracted to the Hebrew letters. My
father was establishing a smaller neighborhood group of fellow Jews
who wished to practice their religion outside of the larger
synagogues in Denver. Services for the Sabbath rotated from home to
home. When it was time to pray in our home I spent many hours
examining the Torah scrolls held inside our portable ark. The
absolute aesthetics and clarity of purpose embedded in these letters
left a timeless impression on me. As my interest in the letters has
grown so too has the neighborhood synagogue, which is now one of the
most important orthodox synagogues in the region.
Your
font, "Torah", is truly elegant. How long did you work on the lettering
by hand before you began the digital version?
More
than twenty-five years ago I partnered with Rabbi Menachem
Goldberger who was also trained as a Sofer (scribe) on designs for
Ketubot (Jewish wedding contracts). The Rabbi asked me to complete
the decorative aspects of these documents and he would draw the
letters. As a result of this partnership "Rav" Goldberger
taught me the art and craft of forming the traditional Torah
letters. I also amassed a large collection of references including
travels to the Houghton Research Library at Harvard to study ancient
documents. After drawing the letters for more than two years I
decided to scan the most accurate examples and build the digital
typeface using a variety of software. The entire process took almost
nine years and the "Torah" font is now marketed in Israel
by Masterfont Ltd. The completion of this typeface now set me free
to compose a myriad of designs and compositions. These letters also
became the foundations for my "Holocaust Portfolio."
How did "Holocaust Portfolio" develop?
"Holocaust
Portfolio" was born as the result of the discovery of a tiny
picture inside of an old family album. Two very young girls, one
with cane, are pictured. According to my mother they were the
daughters of my great aunt Bluma—nothing more was known. I became
absolutely fascinated with these vanished souls. "Lost Girls"
is the touchstone for the work produced over the last 15 years. The
Holocaust casts a dark timeless shadow; ever since I was a young
child I've experienced continuing terror, insecurity, and
bewilderment. As I answer your question terror and ethnic cleansing
continues in Africa.
Your
work is varied, from 2D to 3D. Of the pieces you have produced, do
you have a personal favorite, something you are particularly pleased
with, and if so, why?
 |
| Lost Girls |
The
usual answer we hear is, "I don't have a single work to
isolate." My answer is "Lost Girls" from the
"Holocaust Portfolio." This work combined my imaginings of
two innocent girls with the seminal prayer in Judaism the "Shemah"
which explicitly states the oneness of God. This prayer was recited
by the myriad of Jews marched into the gas chambers. This single
work contains the DNA for all of the future work contained in the
portfolio.
As a
Jewish designer/artist, what are your thoughts regarding the Second
Commandment- Do not make a graven image ?
Your
question is very interesting. There are differences between the
Judaic, Catholic and Protestant commandments. The second commandment
in Judaism clearly states the oneness of God. “You shall have no
other gods before Me.” In Judaic art depictions of God are not
permitted but we do celebrate and depict all that God has created.
The omnipresence and infinite dimensions of God nourishes the work I
design. Islamic tradition also has aligned commandments that lead us
to some of the most compelling calligraphy and ornamentation ever
created.
Who have
been the major influences in your life?
This
is the difficult question—the list is simply too long. I have
always been interested in the arts and more recently the sciences.
In short; John Coltrane, Edward Hopper, Ben Shahn, Stephen Hawkings,
Pablo Neruda, Kurt Vonnegut, Ravel, Christo and Jeanne-Claude,
Marcel Marceau, Rabbi Aryeh Kaplan, Rabbi Yitzchak Ginsburgh, Hil
Tempelhof (my grandfather) and Jean Hashman (my high school art
teacher).
A
well-known Talmudic affirmation: “And whoever saves a life, it is
considered as if he saved an entire world.”
Who are
your favorite designers? Typefaces?
As
far as typefaces there are no favorites. The overarching goal of the
well-educated designer is to respect the content provided and then
make targeted choices that enhance comprehension, memory and
enriched experiences. A few favored designers are Paul Rand, Sister
Mary Corita Kent, Milton Glaser and R. Buckminster Fuller.
What are
your thoughts on the current state of higher education, in regard to
the arts?
With
stressed economies and poor employment prospects there has been a
profusion of “for-profit” high-speed diploma mills. There has
been undo attention given to technology. We must never forget that
visionary individuals who came from diverse backgrounds fuel and
lead technological advances. Artists and designers in the 21st
century must learn to be masterful communicators in all forms
including writing and speaking, they must become liberal artists as
well. Schools K-12 must also recognize value and importance of the
arts. Sir Ken Robinson delivered one of the most compelling TED
talks ever given. This is a must-see experience: Why Schools Kill Creativity.
I
understand that your study of the Hebrew letterform has strengthened
your spiritual connection to Judaism. What suggestions do you offer
students who express a desire to integrate their faith with their
art?
Religious
understandings and practices are lifelong pursuits, I think it’s
possible to engage in much deeper spiritual experiences as the
result of creating analogies and metaphors imagined and created in
all of the expressive arts.
Inspired by
To see more of Martin Mendelberg's work click here.
Under my fingernails, circling the cuticles, is ink. Bone Black Etcher's Ink. My students printed collagraphs last week. I inked their plates- none of them were too keen about doing that step. Ink lasts. But then, I always have something on my hands. This year's printmaking classes have worked in linocut, woodcut, engraving (etching), monoprint, foamprint, screenprint and now collagraphy- the printing of textures from a plate of corrugated paper.
Under my fingernails, circling the cuticles, is ink. Bone Black Etcher's Ink. My students printed collagraphs last week. I inked their plates- none of them were too keen about doing that step. Ink lasts. But then, I always have something on my hands. This year's printmaking classes have worked in linocut, woodcut, engraving (etching), monoprint, foamprint, screenprint and now collagraphy- the printing of textures from a plate of corrugated paper.
