Come into being
Bird woman falls
This last piece for my series Hemiptera, titled The Master references a section of an altarpiece Saints Peter and Dorothy painted in the early 16th century by an unknown German artist simply referred to as The Saint Bartholomew Master. The gesture mimics the hand of St Dorothy holding a carnation. I chose to hold a spiky penis of a seed beetle. The beetle itself is depicted on my neck as well. It is not entirely clear why the penis has such an ominous armor. These floral spikes are believed to sterilize the female before mating.
Continuing with the porcelain hands theme, my new self-portrait Arnolfini Hand is referencing the renowned 15th-century painting by Jan Van Eyck. Adorned with a stick bug, a curiously triangular beetle and a roly poly, together these form the most fundamental geometric shapes.
Ginzburg’s sculptures are like specimens, but packed with meaning and emotion.
- read the full review by Emma Kisiel on Muybridge’s Horse blog
This new work, titled Habitat, depicts a reproductive system of a hermaphrodite freshwater snail Biomphalaria Tenagophila. I was particularly attracted to the coral-like patterns of some of it’s organs. The mollusca is mounted by other invertebrates from similar water-dependent habitats: fly larvae, riffle beetle, mayfly, and a mosquito.
My fascination with an unknown Swabian artist who painted Portrait of a Woman of the Hofer Family in mid-15th century continues in this new piece, titled Forget Me Not. The figure and the namesake flower are adorned with five most critically endangered invertebrates today as classified by the International Union for Conservation of Nature and Zoological Society of London. To find out their species names, please see captions down below.
This new work, titled Fern, completes the trio of floral-like insect morphology pieces. Presented here are the eyes, antennas, and mouthparts of a common moth, adorned with a caterpillar and a house fly (a small tribute to my currently favorite painting by an unknown Swabian artist).
Continuing with floral motifs, this new work is inspired by a curious Ophiocordyceps fungus which infects ants and slowly takes over their brains, effectively turning them into “zombie ants.” The fungus then methodically directs it’s prey into a cool, moist place where it kills the insect as fruiting bodies erupt out of it’s lifeless shell. A perfect example of an eerie, mysterious, and beautiful nature of living things.
Fungi, Curiophyla, 2012
By reducing things to their most basic, cellular level, Ginzburg illustrates a deep connection between past and present.
- a review of my series Curiophyla on beautifuldecay.com.
This is my latest work commissioned for a group show at the Museo Civico of Bassano del Grappa, Italy. I was asked to pick a piece from the museum’s rich permanent collection of works by Italian masters and reinterpret it in my own way. I chose the Head of Medusa, which appears to be a study for Antonio Canova’s renowned Perseus with the Head of Medusa.
A self-portrait in character is punctuated by a Red Sea Coral which, according to the legend, was formed from Medusa’s blood mixing in with the seaweed. The show, appropriately titled Past Forward and curated by Giovanni Cervi, Yasha Young, and Diego Knore, opens on August 31st and runs through the end of September. More details here.
Untitled (self-portrait as Medusa with coral), 2012
Ginzburg creates work that is coming from a personal place.
- a beautifully written and thoughtful review of my work on Hi-Fructose Magazine’s blog by Jane Kenoyer
I am once again inspired by the animal anatomy that resembles flowers. The blossoming structure in this piece is actually a frog’s eighth cranial nerve that carries information from the inner ear to the brain (see the reference image I used for sculpting here). Adorned with two mating dragonflies, it pays homage to the beautifully delicate miniature paintings of Joris Hoefnagel.
Swamp, Curiophyla, 2012