Frank Meisler Sculpture

Frank Meisler was born in Danzig, educated in England and graduated with a degree in architecture from Manchester University. He settled in Israel in 1960 and has his studio in the Old City of Jaffa.

His limited editions and individual sculptures in bronze, pewter, silver and gold plating, have frequently been commissioned by Israel’s Prime Ministers, as well as the Heads of State of other countries as their presentation gifts for special occasions.

In addition to one-man exhibitions and public sculptures in many parts of the world, Meisler’s work is on permanent view in his galleries in Old Jaffa, Jerusalem, Tel Aviv, Moscow and San Juan.

In 1999 the Czech Academy of Art in Prague awarded him with the “Franz Kafka Medal” for outstanding artistic achievement.

Meisler’s work is characterized by a sense of movement and revelation - “The opening and closing of the doors of life”.

It is a synthesis both powerful and personal. Every sculpture beckons one to explore its magic.

UNIVERSAL Art
“Shapes and appearances change and vary as you touch them, and doors will open to reveal the unexpected. These are facts which I learned in my childhood.

Nothing is ever quite what it seems.

The images I create appear to be very clear at first and there is little of what the Italian artists used to call "Sfumato" - a deliberate lack of definition. To me it is precisely the definite shape that is the greatest illusion of all, more "Sfumato" by far than the enigmatic smile of the Mona Lisa. The animals whose qualities I try to capture in my work are most probably people in disguise and the opposite is also true. It is in this way that I record in sculpture what I have always sensed in life.”
Frank Meisler

JUDAICA
“Creating ‘Judaica’ is a very special pleasure for me. They are objects used in Jewish religious practice in home and synagogue, designed for rituals which evolved over thousands of years. In recent centuries, especially in Europe, where Judaism was a persecuted ‘rival’ of Christianity and Jews were debarred from the craft guilds, Judaica was often of low quality, ‘poor men’s art’ made with little love or understanding of their purpose by alien hands. Yet, even there, one senses the urge for survival and the deep roots into the biblical past from which it took its strength. To reinterpret these objects now, bring out their visual potential and research their origins, gives me a sense of direct contact with craftsmen who through generations did their part in creating these symbols of Jewish survival. I hope that I do them justice now.”
Frank Meisler