Irit Ovadia Rosenberg would be the first to tell you that she never imagined establishing a ceramic practice amongst the towering pines of New York State’s Catskills mountains, far from the madding crowd of her native New York City. Nestled between the conifers and surrounded by wild fern, her studio barn and cottage gallery provide a serene backdrop that lend her substantive, tactile assemblages an even greater sense of expanded space and time.
In her latest assemblage series, the artist hangs draped ceramic forms alongside the brutalist, rusted remains of farm machinery from bygone days, creating an uneasy yet harmonious co-existence. I sat down with Irit to discuss the nature and evolution of these unique groupings.