Interview with Israeli Illustrator Liora Grossman

by Daniel E. Levenson

Illustration from the book "Baloona", by Shira Gefen, from Am-Oved pub. "This work shows the beach strip that separates Tel-Aviv from Jaffo; and I think it depicts my attempt to incorporate the real environment into a fantasy oriented type of book."

 Award-winning Israeli artist Liora Grossman recently took some time out of her hectic schedule to answer a few questions for the New Vilna Review. Ms. Grossman was born in Lithuania and made aliyah with her family at the age of five. Today she lives and works in Israel where she has built a very successful career as an illustrator of children's books and become a passionate advocate for Israeli art around the world.

How did you develop your artistic skills?

By the time I was 16 I was taking drawing and sculpturing private lessons, twice a week, from 2 well known Russian immigrant artists, and an additional art history class, at the Tel-Aviv museum. I still find it amazing I had time to do my homework, see my friends, and engage in other extracurricular activities. During my army service I took classes in the Avni institute of fine arts in Tel-Aviv, and later on I graduated from the very famous Bezalel academy of arts and design in Jerusalem. However, in a way - I am self taught, as my biggest breakthroughs took place during the long hours of drawing, and painting, and sculpturing, and copying famous works of art in the privacy of my own room.

What other artists (Israeli/Jewish/otherwise) have inspired you and your work?

Some of my artists who influenced my work, according to the order of their appearance in my life: Ivan Bilibin, Leonardo da Vinci, Michelangelo, Durer, Matisse, The Brojgels, David Hockney, Hieronymus Bosch, Picasso's "Guernica", Diego Rivera,Nahum Guttman, Claude Monet, Hundertwasser, Louis Baragan, David La Chapelle, Guilbert and George, Michal Neeman (Who later on became my step-mother-in-law) Zoya Cherkeski, Rutu Modan, Chris Riddle, Lane Smith, Matotti, and a true passion of mine - late medieval art. As you can see, I'm not particular about the religion or nationality of my role models, and I honestly don't think that any artist, being Jewish, Christian or Muslim can really pick his influences, based on that criteria.

Do you think the experience of making alyah influenced your development as an artist? If so, how?

As to the influence of making "alia" on my art: I think that immigrating to Israel, had a huge influence on me as a human being. I always felt torn between 2 juxtaposing cultures, never fully belonging to any of them. I really suffered from this duality as a child, but now I think that that experience really enhanced me as a human being. It has enabled me to explore and respect other cultures, it taught me that there are many ways to look at things, and most of all, it taught me how to survive in every given reality in life.

As for my art - I can't really dissect it to this extent, but I can tell you what others think: My mom once noticed, that I often use pine trees and palm trees in the same terrain; My teachers from Bezalel often referred to my work as "Eastern-European" (that was meant as a compliment); German and other northern-European publishers, on the other hand, won't work with me because my work is too "Mediterranean", (but I did have a fare amount of success in Spain & Italy), and the weirdest thing of all: The Lithuanian ministry of culture (or whatever it's name is) boasts in official publications of my being a "Lithuanian illustrator" (although I've lived in Israel for the past 36 years). Go figure.

What are some of your favorite themes to explore in your work? Have the main themes/ideas that appear in your art changed over time?

Until some 3 years ago, I would say that I liked dealing with fictional, fantasy based literature for children, (medieval themes: Dwarfs, knights, palaces, swans, monsters, damsels in distress, fairies, witches, members of royalty, etc.) Specifically, I would ask for classical children's literature (Hey! I still like doing that!).

However, 3 years ago, I hired a space in a very civil-rights oriented design studio; Where I was challenged daily by questions and issues that never occurred to me before: Doe's a children's book art need to distance itself from real life , or should it depict the lives of real children? Should all the children in picture books be blond, and beautiful? Should they live in nice houses, should they have both their parents? How are these images perceived by black children, fat children, handicapped children, poor children, children from alternative families? Should I really leave out the place I live in from my art? How about political issues? I live in a small village surrounded by Arab villages. My daughter plays with Arab children. Should I include political issues in my work?

As soon as these questions emerged - there was no way back. I deal with them on a daily basis in every book I do. The first time I've illustrated 3 poor children, in ragged clothes, who share one big room, in an old house, located in the neighborhood of Ein-Karem, in Jerusalem (Yummy story, by Avishag Rabiner, Am Oved pub. 2006) - I won the Andersen honorary citation; so I guess the new attitude works.

Can you talk us about your role in promoting Israeli art and illustration in other places around the world?

In 2001, I took the advice of one of the publishers I work with, and visited the famous Bologna children's book fair, in Bologna, Italy. My goal was to show my portfolio to as many foreign publishers as possible, and hopefully get contracted by one of them.

I was rather successful in that particular fair, and did get a working contract with a Spanish publishing house; but I couldn't help but notice, that while every country in the world was represented in that fair - Israel totally lacked in representation. Let alone the fact that we are considered to be "The people of the book", and thus - at least in my opinion- couldn't afford to not be present in such a prestigious event; I also feel that we do have a magnificent publishing industry, That needs to be seen by foreign eyes. Let alone the fact that every country was represented by a booth, where authors, illustrators, and publishers can get together, (I'm talking about a non-commercial, representative booth. Most Publishers have their own booths in that fair).

As an Israeli illustrator, I felt that my friends and I were not supported by our country. Also, I wish to remind you that this event took place in the beginning of the 2nd Intifada. We were scorned & insulted by many fellow artists, there were demonstrations against us, and the main exhibition (which normally is dedicated to a different country each year) was dedicated to all Arab countries, so there was a lot of political heavy anti-Israeli, and sometimes just bluntly Anti-semitism. We were alone, scared (literally), and unprotected by our country. That wasn't right, something needed to be done, and I decided to look into it. I came to realize, that although the will to support us is there, there is a lot of bureaucracy involved, and not enough money, and mainly - there is no one who has a clue as to what to do.

However, I was given a name in the literature department, attached to the ministry of foreign affairs; where I served as a young soldier, many years before. The name I got - Mr. Dan Oryan (currently, our consul in Denmark), was all I needed. We got together, and decided to create a traveling exhibition of Israel's finest children's books illustrators.

We named it "Israillustrator 2006", and decided that for financial and bureaucratic reasons, it will include 15 huge banners, and some postcards and bookmarks to give away. However, I didn't want to be a curator, as I wanted to participate in that exhibition, rather than being the selector between my colleagues and friends. So, in order to select the 15 artists, Dan and I created a special method: we approached 3 artists, who were indisputable in their talent and influence on Israel’s children's book industry (These were Rutu Modan, David Polonski, and our teacher from Bezalel - Ora Eitan) They were asked to offer 3 names each. The people who were on everybody's lists (I'm glad to say I was one of them) were included in the exhibition, and asked to each make a list of their own. In that way, we selected the participants, by a mutual effort.


                  

These illustrations are from the book "Yammi Story" which takes place in the outskirts of Jerusalem.

Can you talk a little more about the "Israillustrators” project, and tell us what’s happening with it now?

The Israillustrator exhibition was supposed to hang in 10 countries, and finish its voyage in the Bologna fair of 2007. However, for some reason it became a huge success, and was shown in practically every country in the world: India, China, most European countries (including eastern Europe), Japan, North Korea (where families would take pictures, standing in front of their favorite poster), Hong Kong (where students from the local art academy were given assignments, connected to the exhibition), Mexico, Argentina, Russia etc. Extra copies of each poster were printed so that it could be shown in more than one place: they are currently hanging in a book fair in Ecuador.

At some point I was asked to travel with the show and give lectures, that goes to show that being fluent in four languages can get you to Mexico, Buenos-Ayres and Boston. However, the exhibition has never reached its final destination in Bologna. We are still not represented there, and still can't afford to participate in the country-exhibition. I guess my work is not done yet. Maybe next time around.

Many of your "editorial" illustrations are quite striking, can you tell us a little about how you got into this kind of work, and what you enjoy about it?

Wow! Do you honestly think it's striking? In Israeli terms it's not striking enough, and that's why I don't get to do it anymore, much to my dismay. I never thought I will do this type of work, but some 15 years ago, I was approached by Nira Rousso – the Israeli Martha Stewart, and we made a daily food column in Ha'aretz magazine and a double spread in the weekend paper.

Soon I was approached by editors in the magazine to illustrate articles. I really love doing that because it enables me to state my views on things without giving up my mainline of work, which is working for children. I have my limits though – I could never illustrate an article that deals or endorses things I don't believe in. I'm very much my parents' daughter that way. In the world of journalism, this kind of personal integrity sometimes equals being unprofessional, and that's a real problem. Also, I can't be really brutal in my art. There is that thin line that separates the funny from the evil, and I just can't cross it. Since the world of Israeli journalism is based on cynicism and scrutiny, I often can't collaborate with things I find distasteful. That also, is a problem here. (But, hey - I'm still open for suggestions! )

What else would you like people to know about you, your work, or the arts in Israel?

I think I would like to explain why I am a children's books illustrator (rather than a painter, or an animator, or any other related form of art). I think that although we (as in western civilization) live in an era of progress, and comfort; although most children learn how to read and write; although we have computers and satellites, and cell phones, and every possible way of communication we could imagine – there is a slow decline to a sort of medieval period.

It's true - all children learn how to read, but only a small portion of them uses these skills to read. People are much more professional in what they do, but they show little interest in what is outside of the narrow borders of their universe. We have every possible way to communicate, but it feels like all we know about each other is what we are being fed by the media (as opposed to the church in the middle ages.)

So I'm scared. I'm afraid that people will stop reading - and as a consequence - stop thinking for themselves. I know that most illustrators would go on and on about the purity and innocence of children, and the joy in working for such a yet unspoiled crowed. I come from a country where reality forces children to stop being so innocent at a very young age. My contribution to the world, then - is to help young children find refuge in a book. Hopefully, when they grow into different kinds of books, it will help them think for them selves. I see myself, as well as my colleagues around the world as much needed soldiers in the battle against illiteracy; waiting and hoping for the renaissance to come. This, to me, is a far more important thing to do than to indulge my own craving for the brushes and paints, or even to deliver my not-so-important views on the world.

For more information on the work of artist Liora Grossman please visit her web site at www.lioragrossman.com