Razi Mizrahi

razi@razimizrahi.com

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  • Half Doorknob
  • Key on Bark
  • Leaves Bark Music
  • Mayor of Casterbridge on Door
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  • Pages Ribbon on Door
  • Pinwheel and Pages with Aspen Leaves
  • Bed Frame and Lemon rinds
  • Ribbon and Aspen wood
  • Strong Man Music Notes
  • Weighter on bark
  • Lock on Pages and Wood

Objects in the Ensemble

Objects in the ensemble: Keys, wood shavings, bells, bracelets, blender blades, sink traps, twigs, baskets, gas lines, nuts and bolts, nut shells, rubber stamps, dried lemon rinds, door stops, hinges, globe arm, accordion bellows, squash skin, rope, string, wire, tiles, ceramic dishware, lattice strips, tulle, earrings, magazine pages, flower petals, plaster, moulding, green hay, piano parts, car parts, spices, dried animal carcasses, furniture and clock parts, fur, film, musical instruments, bones, brown paper bags, studs, maps, carpet, pinecones, linen napkins, tire chains, books and book pages, lamps, grasshoppers, fern fronds, leather straps, springs, hangers, shutters, bees, dry persimmons, ladies panties, desiccated clementines, doors, windows, drain pipe, chop sticks, bottle caps, matchbooks, stool seats, hair curlers, promises, pledges, shopping lists, love notes, invitations, and apologies. In every piece, careful examination will show a small, incidental photograph of the artist..

Mementos

With support from the Hue & Crye Foundation, Razi Mizrahi is developing a memorialization project of “embedded meanings,” in which the patron and artist collaborate. By contributing the central object around which the artwork is constructed—an heirloom, an ancestral artifact, a photograph (even if—or especially if—damaged), a pair of old slippers, or any other object with personal sentimental value—the patron initiates the direction of the piece. The object triggers a creative decision-making process in which every choice made by the artist is organized around the memory object and every layer of material orients the viewer's attention to it. Each collage is thus a direct reflection of the patron whose sentiment is embedded in it. The resulting collage serves to elegize the object and the memories it holds, while retaining some universal symbolic meaning. Participants are first invited to send an image of the object to the artist for preliminary reflection. Work on this project will begin in Fall 2013. A very limited series of pilot pieces are underway, to be completed in Spring and Summer. Interested parties are invited to email the artist.

About

Razi Mizrahi relies on the fortuity of found objects to guide the content of her collages. Her primary medium is garbage—cast-offs abandoned on the curb or the detritus of a past life thrown into a dumpster, as well as the notes and letters of strangers whose messages were lost on the sidewalk. She draws from the natural and manmade world to assemble ecological and anthropological symbols on wood, metal, or canvas. Her collages incorporate disparate elements, such as hay, worn and burned books, piano and car parts, spices, dried animal carcasses, furniture and clock parts, fur, film, musical instruments, bones, brown paper bags, studs, maps, linen napkins, tire chains, and more.



Artist Statement 2013  
Artist Statement 2009  
Artist Statement 2005  
Updates

Presentation: Dickens Illustrators

Interview with Michael Beck (July 2012),
by Razi Mizrahi

The High School of Art and Design Celebrates Its New Facility and a History-Making Graduate, Ronnie Landfield '63 (October 2012), by Razi Mizrahi

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