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" Cred intr-un Dumnezeu, dar nu intr-unul cu perciuni, sau intr-unul cu cruce, sau intr-unul care imparte aghiazma, ci intr-un Dumnezeu mare, misterios, pe care-l concep, dar nu-l pot explica, pentru ca sunt prea mic pentru a explica o forta atit de uriasa si care nu are forma....." " Cred intr-un Dumnezeu, dar nu intr-unul cu perciuni, sau intr-unul cu cruce, sau intr-unul care imparte aghiazma, ci intr-un Dumnezeu mare, misterios, pe care-l concep, dar nu-l pot explica, pentru ca sunt prea mic pentru a explica o forta atit de uriasa si care nu are forma. Deci, in sculptura mea incerc sa pun nu lucruri misterioase, ci mistice. Mistica este o parte a religiilor, si spun a religiilor, fiindca fiecare religie isi are mistica ei, care incearca sa explice chiar forta pe care nu o poate nimeni explica. Neputind-o elucida, inventeza tot felul de rituri, ritualuri, tot felul de lucruri care uneori ating fantasticul si alteori chiar absurdul."
Sunt cuvintele lui Tuvia Iuster z'l, sculptor, non-conformist, prieten al tuturor si, mai ales, OM. Le gasim pe coperta posterioara a cartii sale " Cintecul Pietrei", editata la Bucuresti, in 2004, cu putin timp inainte de moartea regretatului artist. Tuvia Iuster s-a nascut la Braila, in 1931, dupa absolvirea unei scoli de meserii in Bucuresti, lucreaza ca model pentru sculptorii Boris Carangea, Zoe Baicoianu si A. Szobotka, la Institutul de Arte Plastice din capitala Romaniei. Autodidact, modeleaza nuduri si este incurajat de artisti sa manuiasca dalta si ciocanul. Primele sale sculpturi, "Sfarma-Piatra" si "Tanara" sunt acceptate la o expozitie de grup, iar in 1958 obtine premiul doi la un concurs, dar, inainte de a putea primi acest premiu, emigreaza in Israel, stabilindu-se in satul artistilor, Ein-Hod, sat intemeiat de pictorul Marcel Iancu, unul din intemeietorii miscarii Dadaiste. La Ein-Hod se stabileste intr-o veche casa abandonata, putin in afara satului, fiind responsabil cu de toate, dar, mai ales, cu paza, fiind dotat cu o statura remarcabila si o musculatura de invidiat. Sculpteaza fara incetare, in bronz, lemn, piatra, fier, aluminiu, marmora, prima expozitie personala o deschide in 1961 la Tel-Aviv, urmata de alte peste 40 in Israel, Italia, Franta, USA, Romania. A sculptat peste 1000 de opere de arta, 600 dintre ele sint raspandite pe toate cararile lumii. Povestind despre sine insusi, Tuvia ne surprinde prin sinceritatea crezului sau: " Eu lucram in fier si nu urmaream neaparat exactitatea dimensiunilor, nu eram meserias, nu iubeam precizia... Aici a fost inceputul de arta, de sculptura. Faptul ca lucram cu metal cald, cu fier forjat, ca apareau forme finite. Numai ca la scoala nu se aprecia rezultatul modificat. Eu trebuia sa devin specialist si nu artist. Lucrarea mea trebuia sa devina utila, dar eu nu doream decit sa fac obiecte nenecesare. Eu nedisciplinat am fost o viata intreaga, dar nu neaparat din spirit de opozitie, ci prin incapacitate naturala de a fi precis. De altfel gandeam ca un obiect care este foarte exact, care se potriveste la milimetru este ceva putin absurd." Intr-adevar, Tuvia a fost un indisciplinat, un neastamparat in arta si in viata. Rasfatat de femei, pe care si el stia sa le rasfete, inconjurat de prieteni, plin de vitalitate, iubind oamenii, dar si un pahar de vin bun, era totodata si un om devotat copiilor sai, Baba si Manu si sotiei sale Silvia, care " a fost ca si o mama a copiilor mei, pentru ca, fara sa se impuna ca mama, si fara sa-si ceara drepturi, ea si-a indeplinit foarte multe datorii, ceea ce arata un caracter nobil". In 1999 Ein Hod i-a organizat o mare expozitie, in catalog, criticul de arta clujean Valentin Tascu mentioneaza: " Totul este aventura in viata acestui artist, in afara de opera sa. Tot ce s-a intamplat in viata sa, cu voia sau fara voia sa, a fost impotriva fiintei lui, numai opera sa a lucrat in favoarea sa. O lege a echilibrului i-a stapinit involuntar existenta: de o parte i s-a dat, de alta i s-a luat, dar niciodata n-a invins tragicul; in ciuda evenimentelor ostile din timpul vietii, finalurile i-au fost de fiecare data luminoase, deschise, in timp ce opera, desi i s-a desfasurat pe un parcurs norocos, a ajuns sa reprezinte partea dramatica, sobra a fiintei sale. ....................................................................... Tuvia emana forta, dar ajunge in sensibilitate ( este ciudata sculptura mica, foarte frecventa, la el, stapanul unui uragan, asemanator "batranului" lui Hemingway), ameninta cu glas de tunet, dar in urma doar mangaie ( asa dupa cum extrem de de fine devin ciopliturile sale initial severe si indraznete), isi drege vocea in racnet, dar ajunge sa se lase leganat de cantare lina. Fiinta a extremelor fiind, se redreseaza de fiecare data pe calea de mijloc. De aceea il iubeste toata lumea, in vreme ce opera sa, aparent capricioasa si nestatornica, iubeste pe toata lumea, fara nici un fel de discriminare." Tuvia Iuster a murit in 27 aprilie2005, la putin timp dupa moartea sa, galeria Kastra din Haifa a prezentat o mica retrospectiva a creatiilor sale. Acum, la un an dupa incetarea din viata a artistului si omului Tuvia, la Muzeul Ianco-Dada din Ein Hod, in 4 mai, la orele 18.00, "Omagiu lui Tuvia Iuster", vor lua cuvantul D-na Valeria Mariana Stoica - ambasador al Romaniei in Israel, Paul Leibovici, critic de arta, Liana Horodi Saxone - pictorita, Ora Lahav Shaltiel, reprezentanta a satului de artisti Ein-Hod. In programul artistic - un film despre Tuvia si formatia muzicala " Balkan BeMachsan". scris de Vlad Solomon
As a creative artist, I am sensitive to every innovation and try to be original. At the same time, I respect and am influenced by art throughout the generations. Being a Jew, I attach great importance to our culture and religion, from which the great artists of the world received their inspiration". "The essence of technology is not technological - technology establishes a new type of cultural system that shapes the whole of world society as an object of control", Martin Heidegger (from a series of articles, 1938, "Establishing a Picture of the Modern World through Metaphysics"). Yes, Tuvia Yuster, as a product of the twentieth century, has a great interest in the scientific and technical innovations that fertilize his work, such as in his outdoor sculpture whose uniqueness in perceiving space stems from the possibility of altering its formal, static character in a variety of ways. "Technology enters the most hidden places of human existence, it alters the way we are aware, think or desire. Technology is, in essence, a manner of human existence whose mental penetration we could not appreciate before the computer became a central cultural phenomenon", Michael Heim (The Metaphysics of Virtual Reality, Oxford, 1993). Tuvia Yuster, as an artist in stone and wood, finds that his work is influenced by the thoughts and creative work of Constantin Brancusi, one of the greatest sculptors of the twentieth century. "We must not try to force the material to speak our language. We must accompany it up to the point where observers will understand its own language. Simplicity is not an aim in itself in art. You achieve it in spite of yourself in your attempt to approach ever closer to the real essence of things. Simplicity is in fact the embodiment of complexity and in order to grasp its value and its significance you must maintain your faith in the essence of its being", Constantin (Brankush) Brancusi. "In the wooden columns rising upwards, echoing Brancusi's endless column that stands in Romania, rhomboid forms are tied in a repetitive chain. Yuster's columns preserve the surface of the natural, wild wood, with the fissures and etchings of time. He adds iron seams that bind the scars in the wood together, hinting at their infirmity, and that their apparent erectness is no guarantee at all of their ability to fly to the heavens and free themselves from earthly constraints. His columns are not an abstract mathematical combination. They preserve the characteristics of the wood whose roots are in the earth", Nava Semel (from an article in the local weekly, "Kolbo", Issue 935, 1986). Following Brancusi, Yuster sculpts basic forms in nature in an attempt to reach their essence and true meaning by creating variations that over the years have become more and more refined. His works, such as The Torso and Bird in Space, an abstract being, and on the other hand the column representing infinity, mix content with form and jointly the means of artistic expression. Currently, Tuvia Yuster is summarizing forty-five years of artistic creativity. "A retrospective exhibition is usually organized for an artist after many years of activity. But at the tempo of our time and our country in particular, the jubilee of a career in art and creativity is a long time. This fact will explain, perhaps, the differences in style in my work which I created throughout this period", Tuvia Yuster. The return of the few survivors - the fulfilment of the prophets' vision, strengthened the influence of the Bible on Tuvia Yuster's work. Titles of his sculptures such as "The Aliya" and "Mezuzat Derech" bear witness to his belief in the fulfilment of the prophesy "Nation shall not lift up sword against nation, neither shall they learn war any more". In what he does, Tuvia Yuster walks between the local and the universal. In touching the philosophical polarity that characterizes our lives, originality compared to infinity, his works raise questions of identity and belonging. As an artist, he does not completely ascribe himself to formal abstract or figurative sculpture. At the same time, Yuster finds the main inspiration for his work in the Bible. He therefore sees himself as "a sculptor of the holy and the profane". Tuvia Yuster lived and workied in the artists' village Ein Hod since the late 1950's. A member of the Israel Painters and Sculptors Association, he has presented many solo exhibitions both at home and abroad and has participated in group exhibitions. His works are in collections in various countries. Source: http://ilmuseums.com/icu/art6.asp
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BIOGRAPHY
TUVIA YUSTER, "SCULPTOR OF THE HOLY AND THE PROFANE"
