Avraham Ben Hur Palgi

I was born on kibbutz Sarid in 1950. My art education began right after the army at the Jezreel Valley College mainly drawing, photography and painting.  

As of now I'm working as an iron sculpture over 35 years. When I came to the USA I was exposed to the Americans iron sculptures' such as Richard Sera. His works were so different, I have never seen anything like that before. In addition, Alexander Colder with his great mobile. And of course  David Smith. He with his works, allowed me to get into the world of iron sculpture smoothly. David put his body at the center of his works to fit with his body measurement. He manufactures his own sculptures by himself, due to a strong desire.


In Israel, there is a long tradition of iron sculptures influenced from early agriculture instrument fighting to represent the beginning of farming and concord the Jewish work, in those early days. Wars played a major role in the history of Israelis sculpture, and the Maine representative artist was Yigal tumarkin. In the sixties, Tumarkin had a great show at the Museum of Tel Aviv. I made a visit to see the show and I remember it until today. Yechial shemmy with his great syllable works had fantastic sculptures. In 1990 His name came to mind at once yaacov dorchin as the representative of Israel at the Venice Biennale. Dorchin continues Shemi and tumarkin, a direct and intensive continuation in one sphere; I would call it the sphere of labor. Dorchin made an exceptional work at venice biennale that accompanied me for many years in its intensity, and a new definition of what is iron sculpture is all about.


In 1985 I made my first iron sculpture and those were the artists that made the most influence on me as an artist and an iron sculpture. My first strong topic that I have dealt with was the grand piano. The piano for me at that time was a platform to place my own understanding of how my sculpture should look like. From that understanding I have created large body of works. It has been 15 years since I began my crisscrossed  work method, which there is no one working like me that I know of. First I treat the iron in a certain way that allows me to practically weave it together, creating a shape like a carpet. Doing it I overcome all the tremendous difficult, in the work of weaving iron. The size of the iron I'am working with right now is  3 meters long, 7 centimeters width and 5 millimeter thickness. Any increase in thickness creates a bigger weight and the work process becomes more difficult and complicated, and lack of flexibility that makes it difficult for the weaving process.


When it's done it becomes a tremendous strong and beautiful iron carpet, And a strong similarity to a native American weaving. I hope one day to do the weaving in 8 millimeter thickness which create enormous difficulties and push the technology of today to its limits. Than the process would get out of my studio to much bigger iron factories that will create my beautiful crisscrossed sculptures.                              


My formal aducation was on the kibbutz. And I was serving at the Israely army from 1970 till 1970


1975 till 1978 painting study Drawing And photography at Amkim Colledge.

1979 till 1981 art study at Uof L Kentucky USA. Sculpture with the Art teacher Sam Donaldson.

1989 till 1992 study at the midrasha Ramat Hasharon.

1999 till 2002 finish BA at oranim college In education specializing in art.

Selected one person Exhibition.

1980 painting at the Jewish center gallery.

1992painting at kibbutz sarid.

1993 sculptures at Kibbutz Izrael.

1994 sculptures at the migdal gallery In Tel Aviv.

Selected Group Exhibition.

Numbers of cculptures shows mainly at the migdal Gallery in Tel Aviv.

Sculptures at a public Places. And Privet collectors.