Traditional Mizrach papercut by Rachel Asarnow, 2nd year Apprentice - photographed on December 4, 2018

A visual, craft and textile artist, Rachel Asarnow is full of enthusiasm for her relatively new-found relationship with Jewish papercutting. You can feel the spirited energy vibrating all around her when recounting the process of her artwork - it's infectious and inspiring. In a second-year Folk Arts Apprenticeship from the New Jersey State Council on the Arts, Rachel's excitement for exploring this art form is complemented perfectly by her Master's years of experience. Together they are traversing an art form that connects them to the Jewish faith and its teachings, riding the waves of creative and spiritual expression. Whether the intricately cut designs are considered traditional or contemporary, they are rooted in a concept called, "Hiddur Mitzvah", or honoring God by creating objects of beauty. Each piece of work, overflowing with Jewish iconography, pulls the viewer in to examine every scalpel-cut detail displayed through the finely shaped positive and negative space. In Rachel's Mizrach (pictured above), the traditional design that acts as a directional cue so Jewish devotees can accurately face Jerusalem (East) while praying, we see the Lion, a symbol of Judah, the Eagle representing the power of God, the vine-like plants symbolic of the tree of life, and so much more. While viewing the piece with Rachel, she's more than happy to share the stories behind the images and recount her interpretations of them within the artwork itself.

Deborah pointing out the candy wrapper detailing in an early papercut of hers; made as a study and example of a N. African papercut from 18th or 19th century. Typical of the Islamic style adopted by Jews living there.

 

Q & A with the Master & Apprentice

What makes this art form a Folk Art?

 

DEBORAH: The fact that there were no “full time professional” papercut artists. They were created by untrained individuals for private or community use. As with most folk art, the tradition was passed down from one person to the next. The exception might be those who created the elaborate Italian Jewish Marriage contracts. Even here, artisans learned their skills from masters.

 

Why is Jewish Papercutting a little-known artform - even within the Jewish community? And, when people learn of it, what is their response?

 

DEBORAH: That's not so easy to answer. I think it was never widely known within the Jewish community. Most of these paper cuts were made for private use, by mostly untrained folk artists - as mementos for their families. Some of the cut paper work was done by young school boys as decoration for holidays - but those were not meant to be preserved. Most likely the more costly ones were done as marriage contract decoration in Italy during the 17th-19th centuries, for wealthy families. There are a few Jewish paper cut artists who made their way to America in the late 19th century, some of whom were incredibly talented, but this folk tradition remained personal. Pieces were also lost or damaged during World War II. It wasn't until the 1960's when there was a renewed interest in craft, ethnicity and hand made objects that there was a revival of this tradition. Even now, when Jewish people see this work, they are delighted, intrigued and surprised that there is a tradition that reaches back hundreds of years. They are surprised that we have a tradition of visual art that's vibrant and connected deeply to our traditions and texts.

 

How did you meet Deborah and why did you want to study with her?

 

RACHEL: I met Deborah at a conference some years ago, briefly. I had taken her workshop. There aren't many opportunities to study Jewish papercutting in depth, and Deborah is an accomplished artist and teacher of this art form. I appreciate that she works in a traditional art form but is also a contemporary artist. She finds ways to blend them.

 

 

 

Above: Rachel Asarnow in Deborah Ugoretz's studio showing her traditional Mizrach inspired by a South Jersey Jewish Farm, Dec. 2018

 

How does creating papercuts connect you to your heritage? What does that mean to you?

 

RACHEL: Making art is important to me. I love craftsmanship and working with my hands. I appreciate being able to do that in service to the Jewish community. I have taken on the practice of this art form during an era in which people print out papercut art using laser machines, but I like the little imperfections inherent in working from hand, and the meditative practice and dedication involved in creating individual pieces of art by hand. I think that it adds something to it. Jewish papercut art was at one time very popular, but much of the earlier work was lost before the folk art was revived in the 60's. So I am helping to preserve what was a dying tradition.

 

Is there a specific symbol (or set of symbols) that you have found particular interest or fascination in? Why do you think that is?

 

RACHEL: I have enjoyed learning about all of the meanings of different plant materials and creatures within Jewish papercut art. Through that I have learned about Jewish sources and teachings that were new to me. I have also very much enjoyed learning about the mystical creatures that inhabit the original papercuts and some of their meanings. Learning about the mystical, supernatural side of the Jewish tradition is fascinating. Also, I grew up reading lots of sci-fi and fantasy books. I appreciate the creativity involved, and the way it can get you thinking about important issues in the actual world. I love all the patterning in Jewish papercut art. It holds pieces together and is decorative, but it also often holds a spiritual meaning, and it connects to the cultures papercut pieces are influenced by. There are different variations of Jewish papercut art within Europe, and there is also a different North African style. I also have an interest in textile arts, and that is definitely some of the reason that this appeals to me.

Being an artist of many interests and skills, how will you remain connected to this particular art form? Any projects in the works?

 

RACHEL: I'm looking forward to learning Hebrew calligraphy. That will be so useful to me as an artist. Currently, I am working on getting a papercut banner done of a drawing I made this fall, for TuBishvat, and drawing a Yartzeit piece in memory of my grandfather. Then I will be moving on to another couple pieces I have ideas for but haven't made yet! I plan to continue making papercuts and hope they end up hung on the walls of people's homes and in public places, including synagogues.

 

 

Left: Apprentice, Rachel Asarnow; Right: Master, Deborah Ugoretz; Red Hook, Brooklyn Studio

Rachel Also Creates Public & Community Art. You Can View More of Her Work on flickr & Follow Her on Instagram!