Sandy Sokoloff Paintings

ARTIST STATEMENT:

In 1964, I saw an exhibition by Pierre Bonnard at the Museum of Modern Art and upon returning to art school in Boston began to work in a post-impressionistic style influenced by this exposure. Then seeing ‘Dead Christ with Angels’ by Edouard Manet at the Metropolitan Museum of Art and the work of Mark Rothko and Alfred Jensen, I came to understand that, for me, painting is a spiritual act and making paintings is my spiritual practice.

It has become standard practice for me to continually change entire passages of a painting to achieve an ultimate balance of color, form, space, and surface – so that the work projects a quality of inevitability. So that the work is compellingly real.

'Emanation', Installation view Brattleboro Museum, VT 2019

Sandy Sokoloff (b.1944) was educated in the New York City public school system and attended Queens College, CUNY on a Regents Scholarship before enrolling at Boston University School of Fine and Applied Arts in 1962. He received a BFA in 1966 and MFA in Painting, 1969. He then taught at Wellesley College (1969-76); Boston University (1977-78); Art Institute of Boston (1979-80). He had exhibitions beginning in 1973 and culminating in 1993 when he reached a spiritual and artistic impasse. He withdrew from the art world. Returning to the studio in 2013 after a twenty-year hiatus, he deepened his investigation into the spiritual nature of art. By 2019 he had produced a body of work which extrapolates the imagery of ancient Judaic mysticism and mounted a one-man exhibition ‘Emanation’ at the Brattleboro Museum and Art Center. A year later (2020) his work was included in ‘Transcendence’ at Burlington City Arts along with artists Anila Quayyum Agha, Shahzia Sikander, and Zarina.

'Reishit (Beginning)'_72 x 104 inches, acrylic on canvas_2017

'Reishit' was included in my one-man exhibition "Emanation" in 2019 and is the first in the Sephirot series. While the central sphere in all the other paintings in the series have coalesced to form a pulsating globe or perhaps a view of early galactic creation, here the center orb is fluid and never stationary. It is the Infinite still forming, the emergence of wisdom or intellect from desire.

'Santa Maria Assunta', 35 x 45 inches, acrylic on canvas, 2023

Based on the ceiling of the Santa Maria Assunta church in Assergi, Italy. this work has a jewel -like quality due to its' color and speaks very strongly to me of a journey to the heavens - an assumption.

'Ein-Sof', 77 x 96 inches, acrylic on canvas 2020

'Ein-Sof' was painted and completed during Spring and Summer, 2020 through the height of the COVID pandemic. I am 76 years old as I write this and so it was necessary to isolate myself as completely as possible. Easily done in Grand Isle, Vermont on the shores of Lake Champlain with my studio a short walk from our house. This is a large canvas and calls to task any and all skill I may have developed in >50 years of painting. The ten circles organized around the central illumination or void allude to the ten "quabbalist spheres" or Sephirot. Connecting these circles is a decagon which occasionally seems to disappear - which is "seen and not seen". The subtle power of this work when seen in the flesh can be overwhelming but at the same time it is quietly beautiful. In Kabbalistic writing, Ein-sof (without end) is the infinite godhead.

'Yesod (Foundation)'_66 x 96 inches, acrylic on canvas_2017

The Sephirot series was painted over a five year span. I did not know what these paintings were about, only that the symmetrical geometry and combination of hard and soft edges had to achieve a pulsating central sphere hovering in an ethereal landscape of color. Other formal elements complete and solidify these compositions. Then one day I happened upon the term "Sefirot" in an internet search and knew immediately what I was painting. Yesod is the foundation and serves to connect all aspects of the infinite above and below.

'Archangel Raphael', 46 x 93 inches, acrylic on canvas 2019

This painting was shown in the 'Transcendent' exhibition in 2019-2020 and is reviewed here : (https://www.artandobject.com/news/transcendent-spirituality-contemporary-art).

'Santa Maria del Popolo', 34 x 45 inches, acrylic on canvas, 2023

Based on the ceiling of The Parish Basilica of Santa Maria del Popolo in Rome, Italy . After many changes, color becomes foremost in this work achieves a fresco-like quality. I find it uplifting (in an almost literal sense) every time I look at it.

'Zohar', 77 x 96 inches, acrylic on canvas 2021

I began working on 'Zohar' in May of 2020 and thought I had completed it in September of that year. As I often do, I put it aside with the thought of revisiting to see if any minor adjustment might be required. I then worked on and completed 'Holy Ghost' and 'Raising of Lazarus'. Upon returning to 'Zohar' I found it to be incomplete and was compelled to rework it entirely and to incorporate the steps I made in the two smaller paintings. There are now eight circles arranged around a central illuminated void. The spheres are connected by an octagon and lines of force dissect the central void and add dimensionality. I completed ‘Zohar’ in June 2021. The Zohar is the medieval compendium of Judaic Mysticism.

‘Netzach (Eternity)’, 72 x 108 inches, acrylic on canvas 2018

'Archangel Michael', 38 x 78 inches, acrylic on canvas 2019

'Michael' is the first painting in the 'Archangel' series and was completed in 2019. It is a transitional work in that it was included in my one-man 'Emanation' exhibition in Spring of that year. Appearing akin to a kabbalistic sphere, the Archangel stands in front of the gates to heaven, his wings emanating an intense golden light - or are his wings a fiery sun setting behind these gates?

‘Shekhinah (Bride)’, 72 x 104 inches, acrylic on canvas 2017

The Sefirot describes ten emanations of God and the tenth of these is Malkhut and is identified as the Shekhinah. In this view the Shekhinah is understood to be the feminine aspect of God.

'Raising of Lazarus', 32 x 34 inches, acrylic on canvas 2021

Lazarus bridges old and new testament themes. I first painted a 'Raising' in 1997 and an image of that work can be seen on my website. Smaller in scale, it was Intended as a study but resolved so fully that further investigation became unnecessary.

‘Tifereth (Balance)’, 66 x 96 inches, acrylic on canvas 2017

A painting must achieve balance if it is to be resolved. Therefore, all the elements must be considered and adjusted (re-painted) continually even though this may require month after month of effort. Once completed, the viewer sees the work as 'inevitable'.

'Archangel Gabriel', 30 x 60 inches, acrylic on canvas 2019

'Gabriel' is the third 'Archangel' series painting. Heavily painted with many, many layers correcting those underneath to finally achieve a resolution, it is both somber and ethereal. Gabriel 'trumpets' the larger Archangel paintings to come

'Silver Apples of the Moon - Golden Apples of the Sun ", 34 x 43 inches, acrylic on canvas, 2022

“Jerusalem of gold

And of copper, and of light
Behold I am a violin for all your songs.”

It is standard practice for me to continually change entire passages of a painting to achieve an ultimate balance of color, form, space, and surface – so that the work projects a quality of inevitability. So that the work is compellingly real.

Here, the central orb is Jerusalem, of gold and of copper. This is my return to a metaphysical homeland, to childhood and to the beauty of innocence.

Or is it one of Yeats’ Golden apples?

"Though I am old with wandering
Through hollow lands and hilly lands,
I will find out where she has gone,
And kiss her lips and take her hands;
And walk among long dappled grass,
And pluck till time and times are done,
The silver apples of the moon,
The golden apples of the sun." 

'Chesed (Kindness)'_66 x 96 inches, acrylic on canvas_2016

Heavily painted in layer after layer over many months this work finally resolved itself into a very powerful presence. A reviewer wrote: "Sokoloff is an alchemist, turning pure paint into another medium experienced as light". Chesed is that aspect of the infinite with the attribute of grace, benevolence, or compassion.

'Prophets_Jeremiah', 48 x 96 inches, acrylic on canvas 2020

The 'Prophets' series was completed in March, 2020. There are 4 in all and this is the 2nd. Since I work at large scale and do not preconceive the work, the title or identity comes after I've reached a resolution. I knew only that this painting would depict or honor a prophet of the old testament. He is adorned in gold and sits in judgement. Resolving this painting was difficult for me, involved many changes and resulted in a light that, frankly, surprised me. Almost metallic but still somehow regal, the color here reminds me of early Italian paintings of the saints.

'Gevurah (Discrimination)'_72 x 104 inches, acrylic on canvas_2018

With a full understanding of the intent of the series and with the geometry and symmetrical composition predetermined, my focus was on color and light. The light here is ethereal and the color vibrantly intense. Gevurah is the essence of judgment and limitation, and corresponds to awe.

'Kaddish', 77 x 96 inches, acrylic on canvas 2020

The second 'Celestial Events' painting, 'Kaddish' was painted as the COVID pandemic raged as did the presidential election. A large work of great subtlety it is at once a geometric color abstraction as well as an ode to the dead and dying. There are eight circles arranged around a central illuminated void. The spheres are connected by an octagon which appears and disappears - is "seen and not seen" In kabbalistic teachings, the number seven symbolizes perfection – perfection that is achievable via natural means – while eight symbolizes that which is beyond nature and its (inherently limited) perfection.

'Archangel Haniel', 30 x 60 inches, acrylic on canvas 2019

'Haniel' is truly the first of the 'Archangel' paintings. I was looking to replicate some of the formal elements in 'Archangel_Michael' but discovered that the smaller circles at left and right worked best when they virtually disappeared into the wing-like formation behind them. This then became the format for the rest of the series.

‘Keter (Crown)’, 72 x 108 inches, acrylic on canvas 2018

'Keter' is the last in the Sephirot series. This is a large painting and always one who struggles mightily to resolve a work, I found no struggle here with the central orb in this work and completed it (without any later urge to make changes) in a single day. Not true, however, for the landscape portals on either side which proved almost to be the death of me - these had to be exactly right so as to maintain the balance and complete the supreme sense of realness this work projects. We cannot portray the face of God because God is infinite, but we can attempt to convey each of God's 10 emanations - the Sephirot. Keter is the crown and sits at the top of the Tree of Life. I see it as akin to the crown chakra achieved through meditation as well as Moses' encounter with the Burning Bush.

'Guardian Angel', 70 x 120 inches, acrylic on canvas 2021

‘Guardian Angel’ was begun in May 2021 and completed in September of that year. It is the largest canvas I’ve done in the last 25 years and completes a cycle I began with the Sephirot paintings in 2016. Essentially, it contains all the formal elements I have worked with throughout this period and attempts to resolve the aesthetic issues I have been grappling with. The viewer’s perception must be of a central protective shield (the guardian) which nonetheless fades in and out (seen and not seen) and cannot be contained by the eight surrounding spheres. Further, huge angel’s wings at left and right contain the final two of the ten kabbalistic spheres (Sephirot). An angel spoke to me once. It was 35 years ago – a voice as perfect and clear as a bell imparting guidance I have attempted to follow ever since.

'The Battle of Jericho', 40 x 60 inches, acrylic on canvas 2022

I thought I had resolved this work in 2017 and it was exhibited in 2019. The pandemic impacted attendance and it returned to the studio where it sat until recently. Pierre Bonnard was a major early influence on me, and I remember the stories about how he would sneak into an exhibition of his work after hours to add a final touch to one of the canvasses.

'Light from the Lighthouse', 35 x 34 inches, acrylic on canvas 2022

The Lighthouse was painted as the COVID pandemic still raged. It is at once a geometric color abstraction as well as an ode to the dead and dying. There are eight circles arranged around a central illuminated void. The spheres are connected by an octagon which appears and disappears - is "seen and not seen". In kabbalistic teachings, the number seven symbolizes perfection – perfection that is achievable via natural means – while eight symbolizes that which is beyond nature and its’ (inherently limited) perfection.

“Let Your light from the lighthouse shine on me - Shine on well, let it shine on”
-
Blind Willie Johnson 1929 

'Roll Away the Stone (Silver Apples of the Moon)'

40 x 60 inches, acrylic on canvas 2022

In Kabbalah, the "Tree of Life" is comprised of eleven energies (Sephirot) that flow from the infinite to the finite. Chesed (Kindness) is the 4th Sephirah and Gevurah (Strength) is the fifth. They act together to reveal the secret of the coming of Messiah and the resurrection of the dead.

It is standard practice for me to continually change entire passages of a painting to achieve an ultimate balance of color, form, space, and surface – so that the work projects a quality of inevitability. So that the work is compellingly real.

Here, the central orb provides a radiance unlike no other and, although surrounded by hard-edge bands, seems nonetheless to dissolve into the tomblike columns that surround it.

“Won't You roll away the stone
And let the light shine in on me
Roll away the stone and let it be”

Or is it one of Yeats’ Silver apples?

And pluck till time and times are done,
The silver apples of the moon,
The golden apples of the sun. 

'Santa Maria Maggiore (Angel at the Gate)', 38 x 59 inches, acrylic on canvas 2023

Based on the ceiling of the Basilica di Santa Maria Maggiore in Rome, Italy. The first painting in the 'Celings' series, I began working on 'Santa Maria Maggiore' in February of 2022 and completed it in January, 2023. It is perhaps the most dimensional of my paintings and for this reason attains a powerful presence - therefore the subtitle 'Angel at the Gate'.

'The Stone Hewn Out of the Mountain', 48 x 72 inches, acrylic on canvas 2022

Initially completed and exhibited in 2019 I felt compelled to re-work this canvas beginning in the Fall of 2021. It is standard practice for me to continually change entire passages of a painting to achieve an ultimate balance of color, form, space, and surface – so that the work projects a quality of inevitability.

Six months later ‘The Stone Hewn out of the Mountain’ completed its’ renaissance, and I am pleased with it.

Inspired by the gospel song:
I'm looking for the stone that was hewn out the mountain, Lord
I'm looking for the stone that came rolling down from Babylon
I'm looking for the stone that was hewn out the mountain, Lord
Tearing down the kingdom of this world

Here, the central orb is the stone still forming, molten and luminous as it emerges from its’ mountainous entrapment 

'Dom zu Unserer Lieben Frau', 38 x 59 inches, acrylic on canvas, 2023

Based on the geometry of the ceiling of 'The Frauenkirche' Cathedral in Munich, Bavaria, Germany I began this painting in early 2022 and completed it in January 2023. My goal in every painting is to achieve a balance of color, texture, light and geometry which affords the viewer an experience of the eternal.

'Prophets_Isaiah', 48 x 96
inches, acrylic on canvas 2020

The 'Prophets' series was begun in 2019 and completed in March, 2020. The geometry of these works builds on the previous 'Archangels' series but the light is very different - more subdued and personal. The prophets, after all, were mere mortals who may have had an open channel to the supernatural and hence my interest in them. Isaiah is the messenger; "Here am I! Send me".

'Archangel Uriel', 46 x 93 inches, acrylic on canvas 2019

'Uriel' is the fourth 'Archangel' series painting. He "stands at the Gate of Eden with a fiery sword".

'Prophets_Moses', 48 x 96 inches, acrylic on canvas 2020

The third in the 'Prophet' series, Moses was begun in late 2019 and completed in April, 2020. I constantly change colors while maintaining the underlying geometry - a process afforded me by the flexibility and quick drying nature of acrylic paint. This painting was difficult to resolve - obtaining the necessary balance between the bold, dramatic sphere in the center with the subtle nuance of the left and right configurations. But I feel pleased with the resulting power of the work - a parting and a reassembling where the children of Israel might pass through.

'Prophets_Ezekiel', 48 x 96 inches, acrylic on canvas 2020

The last in the 'Prophets' series, Ezekiel was completed as the COVID pandemic was raging in Winter, 2020. This painting is about restoration and hope for a brighter future. The center alludes to Ezekiel's vision of God as an 'amber shining in the distance' while the geometry at left and right speaks of 'Ezekiel's wheel' - here presented in an odd and space-bending perspective.

'Jerusalem of Gold (Golden Apples of the Sun)', 40 x 60 inches, acrylic on canvas 2022