Stripe Paintings

Riveting Stripe Paintings Compositions Series No. 1

“Color is my day-long obsession, joy, and torment. To such an extent indeed that one day, finding myself at the deathbed of a woman who had been and still was very dear to me, I caught myself in the act of focusing on her temples and automatically analyzing the succession of appropriately graded colors which death was imposing on her motionless face.” — Claude Monet

“Life is about using the whole box of crayons.” — RuPaul

Since the beginning of the COVID-19 house arrest, I began a new series of paintings—colored stripes, one touching the next. The vision was simple but profound: to create stripe compositions inspired by places or objects that had left a lasting impression on me. Always in mind was the idea that I never truly see a color in isolation—only in relation to the one beside it. The variations are endless. There are infinite hues, countless brushes, and limitless ways to explore the space between intention and intuition.

In times of fear and heightened anxiety, there are many ways to quiet the mind. Some are destructive in the long run. But among the ones that heal, I’m always drawn to making art—to working with my hands and letting the mind drift into the zone.

When I reach that state of flow, the mind narrows its focus to the tip of the brush. I become one with it. Sometimes, the paint is soft and viscous—like butter—gliding into long, unbroken lines with a single stroke. Other times, it’s thick and stubborn—like cement—and must be laid down dot by dot.

Minimalism Meets the Desert: The Legacy of Donald Judd in Marfa

The desert and minimalist art share a unique kinship—quiet, spacious, and stripped down to essentials. Few artists embodied this connection more deeply than Donald Judd. Disillusioned with the noise of the New York art scene and constrained by traditional gallery spaces, Judd longed for something different—a place where space itself could be part of the artwork. That moment arrived in 1946, when, as a young army engineer traveling by train, he passed through Marfa, a sleepy town in West Texas. Years later, he returned and purchased a cluster of abandoned German POW barracks. There, with the backing of the DIA Foundation, he created a lasting monument to minimalist art.

I arrived in Marfa in 2015, at the end of a two-week road trip across Texas. I was trying to understand whether Texas was a state of mind or just another state. Marfa offered no answers—just space, silence, and dust-filled streets. The town, with its dirt roads, sparse architecture, and bursts of street art and color, felt like a mirage caught between worlds. It was here that Judd built his vision. He transformed an old Army base into a sanctuary for art, installing his own signature metal boxes alongside Dan Flavin’s luminous light works.

Judd’s relationship with the desert wasn’t just aesthetic—it was spiritual. He placed his sculptures outdoors, allowing them to become part of the landscape. His philosophy was clear: art should not dominate nature, but coexist with it—inhabit it. His iconic work, a hundred gleaming aluminum boxes, each measuring 41 by 51 by 72 inches and arranged in orderly rows inside two former artillery sheds, remains one of the most quietly powerful installations I’ve ever seen. The boxes don’t clamor for attention. They reflect light, echo space, and invite stillness. Their edges are flawless, their form simple, their presence undeniable. Each is a testament to the power of restraint—to the idea that less can truly be more.

Judd’s use of industrial fabrication changed the way I thought about materials and process. When I began working with plexiglass, aluminum, and later fused glass, I found myself drawn to that same idea: trusting the precision of machines to carry out a vision that was born in the hand and heart. Like Judd, I sought out factories—not to distance myself from the work, but to collaborate with another kind of craftsmanship. His example gave me the courage to explore new forms, to let go of control in some places, and to celebrate the dialogue between human intent and industrial perfection.

February 2023

Mist #1

Mist is condensed water vapor suspended close to the earth’s surface—soft, elusive, and quietly transformative. It obscures visibility not by hiding what’s behind it, like a veil, but by blurring and distorting what’s in front of us. It turns the familiar into something unknown. Mist often brings with it a sense that what I’m looking at isn’t quite ready to be named or understood. It signals a transitional state—a moment of not-yet. But there’s something else too: a knowing that what I seek is almost within reach. Soon, I will leave the valley of mist behind and rise to higher ground, into sunlight and clarity.

I often hear people say, “God has a plan for me.” I’ve never quite believed in a God who orchestrates every detail—a controlling, all-knowing force mapping my every move. That’s not my experience. I struggle. I doubt. I wrestle with choices. I believe we arrive in this life carrying a boatload of free will. My decisions are mine—flawed, stubborn, sometimes brave.

Still, I don’t walk alone. My God isn’t a puppeteer. He’s a presence. He sits quietly on a balcony above, sometimes weeping at the messes I create, but always cheering me on. Always hoping. He’s my rock—present through rain and shine, holding only love, acceptance, and endless forgiveness. And when I’m able to touch that awareness—when this consciousness breaks through the mist—it’s easier to be kind. Easier to forgive. Easier to soften.

Not always. Not yet. But more than I could twenty or thirty years ago.

January 2023

Desert Flowers at Night

On a visit with old friends in what was once a barren stretch of southern Israel, we stumbled upon something unexpected: a vast field carpeted in desert flowers, blooming with defiant beauty. Years ago, only the Bedouins roamed this land, their tents scattered across the arid expanse. Today, it’s planted, paved, and populated. Still, the spirit of the place—and of its original desert dwellers—lingers.

This reflection is part of a larger essay I’m writing called The Desert and Me, where I explore the landscapes that shaped me and the people I met along the way. Among them, none have left a deeper impression than the Bedouins.

The Bedouins

When I think of the desert, one of my first associations is with the Bedouins—the nomadic tribes who for centuries moved across the Middle East’s vast deserts, raising camels, goats, and sheep, following the water and the grass. Camel herders roamed the great stretches of the Sahara, Syrian, and Arabian deserts. Sheep and goat herders stayed closer to the cultivated regions of Israel, Jordan, Syria, and Iraq. Some families, especially in South Arabia and Sudan, raised cattle. Bedouins also earned a living by guarding trade caravans—or, just as often, raiding them. But times have changed. As rainfall grows scarcer and modernization edges deeper into the desert, many young Bedouins leave their tribal lands in search of jobs, education, and opportunity.

My encounters with the Bedouins have always been with men. In this conservative, patriarchal society, Bedouin women remain largely out of sight. Still, the men I met—stoic, grounded, alert—carried something timeless. My first real encounter came during my army service.

Each dawn, we patrolled the border fence, checking for signs of infiltration. At the head of our unit was always the tracker—the gashash—a Bedouin soldier enlisted in the IDF’s specialized tracking unit. These men are masters at reading the desert floor. A slight shift in the sand, a footprint barely visible to the untrained eye, a stone that doesn’t belong—all speak volumes to them. From one glance, a tracker might tell you when someone passed, whether they were carrying weight, whether they were limping, and in which direction they were headed. They could even detect hidden explosives by noticing a displaced rock or the pattern of disturbed soil.

The word gashash comes from the Hebrew root meaning “to grope,” to feel one’s way forward without sight. These days, the word carries different—and often uncomfortable—connotations. But in this original sense, it describes someone moving carefully through darkness, listening, sensing. The language we use shapes the world we see—but that’s a subject for another essay.

Trackers are often up against smugglers or infiltrators who try to conceal their tracks—using branches, sponges, or sheepskin. But rarely do they succeed. One story stands out clearly in my memory. We were on patrol near the Egyptian border—an area known for smuggling and infiltrations. Within moments, our tracker said, “This is no smuggler. This is a terrorist.” I asked how he could know. The answer was precise. “The shoe size is wrong—not that of a local Bedouin man. And he’s walking on the hilltops, looking for lights. A man who knows this land would stay low. He wouldn’t need to look for anything—he’d already know where he’s going.”

That call set off a rapid response. Within an hour, we had the man in custody.

I once asked a tracker, “What’s your secret? What do you see that I don’t?”
He smiled and said, “There’s no secret. Just experience. When I was six, my mother sent me to bring food to my older brother, who went out early to herd the goats. I had to follow his footprints to find him. Life in the desert taught me to pay attention.”

Even today, with satellites and surveillance drones watching from above, there’s no replacement for the eyes of a Bedouin tracker and the intuition shaped by sand, sun, and silence.

Night in Sinai

My second close encounter came during my time working as a medic on hiking and camel expeditions in the Sinai Desert. The highlight of these trips was often a visit to the ancient Greek Orthodox monastery of Saint Catherine, nestled beneath the foot of Mt. Sinai. For centuries, the local Bedouins have protected the monastery, receiving food and goods from the monks in return.

On one of those trips, I found myself alone with a Bedouin man and two camels. We camped beside a small fire. He had the weathered skin and dignified quiet I’d come to associate with Bedouin men. We barely spoke—his Hebrew was better than my Arabic, but neither of us had much to say. Still, there was a calm between us.

I watched as he pulled flour from a cloth sack, mixed it with water and a bit of salt, then shaped it into a large disc of dough. He flattened it with steady hands, then left it to rest. Later, he raked away hot coals from the sand, placed the dough in the warm bed beneath, covered it again with coals, and waited. When he finally removed it, brushing off the excess sand, he broke the bread and shared it with me. We dipped it into canned tomato sauce.

Lake Hovsgol, Mongolia

A young man in beige shorts, a white t-shirt, and a small backpack pauses to marvel at the elegant, almost acrobatic walk of an ibex scaling the rim of a steep canyon wall. The ibex—native to the Judean Desert—is a wild mountain goat with long, spiraling horns that stretch backward like ancient script etched into the sky. Their agility defies logic. Watching them dance along the cliff’s edge is like witnessing a circus act—only this stage is made of stone, silence, and sun.

That young man was me, years ago, on one of many solo hikes through the desert. I had started at first light, hoping to reach the road by the Dead Sea before dusk and catch a ride back to Jerusalem. As I hiked deeper into the gorge, I kept scanning for signs of water—maybe a small pool left behind by recent rains.

There’s no feeling like it: shedding my shoes and clothes after hours of hiking and plunging into a cold, hidden cistern. It’s a baptism of sorts—shock, release, and renewal all in one breath. The desert may be barren, but it holds secrets. Many wadis (the Arabic word for gorge) twist through the Negev and Judean landscapes, their rocky walls carved by wind and flash floods. When rain comes, even briefly, a pool forms. In Hebrew, that pool is called a gev. For me, diving into a gev after a day under the punishing sun feels like reaching a mountain summit.

Desert and water. Absence and surprise. These dualities shaped my relationship with the land—and with myself. The same forces that chiseled those wadis shaped my own story: relentless movement, occasional flooding, moments of stillness, and sudden clarity.

When I turned eighteen, I made a decision that was both symbolic and deeply personal: I changed my last name. My brother and I chose to Hebraicize our family name, as many young Israelis did then—an act of shedding diaspora identity and stepping fully into the mythos of the “New Jew.” We changed it from Ginzberg to Gev.

The name change wasn’t just a nod to Zionist ideology—it was also directed by the military, encouraged by a national vision of forging something new. Gev, in Hebrew, means “cistern” or “pool of water”—a quiet reservoir found in the desert, often after the storm. It felt right at the time: simple, elemental, Hebrew.

But now, after living in the U.S. for more than three decades, I have mixed feelings. With Ginzberg, I could have avoided the endless moments of spelling my name, clarifying its pronunciation, explaining it to puzzled ears. And there’s something grounding, even honorable, in carrying the name of a lineage—like that of the late Supreme Court Justice.

Looking back, I see that the choice wasn’t just ideological. It was psychological—an expression of longing, belonging, defiance, pride. A name is never just a name. Like the desert and the gev, it holds layers—some visible, others hidden. I continue to uncover and cover them, again and again, like returning to a familiar trail, always seeing it anew.

May 2023

 

Tsagaan Suvraga #2, Mongolia

The Hebrew word for desert is midbar [מדבר]. Intriguingly, it shares a root with both daber (to speak) and dever (pestilence). The latter refers to an ancient cattle disease and, in the Book of Exodus, appears as the fifth plague inflicted upon Egypt. This shared root invites an unsettling analogy—linking the desert with affliction, even with divine judgment. And in many ways, it fits. The desert, after all, is unforgiving: a place of scorching days and freezing nights, where water is scarce and danger comes quietly, often in the form of silence, emptiness, and stillness.

It isn’t just the physical threats—rattlesnakes, sandstorms, coyotes—that make the desert treacherous. It’s the solitude. The monotony. The vastness that strips you down until only the essential remains. The desert doesn’t just test the body—it tests the soul. It challenges anyone who dares to follow a deeper longing, anyone who attempts to cross it in pursuit of something greater.

In those moments—when I find myself facing uncertainty, grief, or failure—the desert’s horizon seems to move further away with every step. What once felt possible feels lost. Hope retreats like a mirage. But over time, I’ve come to understand something essential: beautiful things grow in the desert, too.

I’ve wandered through both physical deserts and spiritual ones. And in both, I’ve discovered unexpected resilience. Without loss, how could I truly grow? Without being stripped bare, how would I ever know what remains?

I was born in a small town in the Negev Desert. So for me, midbar is not only a symbol of isolation or trial. It’s also about origin—belonging, roots, and a quiet kind of strength. The desert has always offered me serenity. It has always invited me back to listen, to create, and to remember who I am when everything else falls away.

January 2023

 

Dharamshala, India

“May the road rise up to meet you. May the wind always be at your back. And may you walk safely and never stumble—until we meet again.”
— a blend of Irish blessings and wisdom from the Book of Proverbs

As Tomer and his girlfriend, Deena, set off last week on a long backpacking journey through Asia, I found myself revisiting a piece he wrote years ago while traveling in Dharamshala, India. It feels like the right moment to share an excerpt—one that reflects not only the spirit of travel but also the quiet revelations that can arise when we step outside our familiar world.

“Between taking pictures and videos of the brothers working, an epiphany rattled to life in the depths of my mind: I cannot pity these people.

In the back of my mind, I had been subconsciously pitying my new friends for their life circumstances. They were poor, uneducated, and wearing flip-flops in a place that rained daily. I felt bad for them—until I realized how misplaced that feeling was.

While Vinod showcased his pride in his work, I saw that what they deserved wasn’t pity—but presence. I wanted to offer my authenticity, not my assumptions. I wanted to connect.

‘What makes you happy, Vinod?’ I asked, still absorbing the revelation spinning in my head.

‘Anything,’ he answered. ‘The road, these shoes, the roof, water, my brother, chai… anything.’

Sometimes, the deepest insights into the human condition come from the simplest places. ‘That’s one hell of a good answer, my friend,’ I said, placing my hand warmly on his shoulder.”
— “New Friends from Unlikely Places,” July 15, 2016, by Tomer Gev

November 2021

Florence Synagogue #2

Florence is filled with places of worship—each one steeped in beauty, reverence, and history. Among them, the Florence Synagogue stands out. Built in the Moorish style, it holds its own in a city renowned for architectural splendor. Its grandeur made me pause—not only to admire, but to reflect on something deeper: the relationship between creative inspiration and faith. Are they connected?

Pablo Picasso once said, “Inspiration exists, but it has to find you working.” In other words, greatness in art doesn’t arrive through a single stroke of genius—it emerges from repetition, effort, and showing up. I think the same can be said of faith. Faith isn’t a lightning bolt. It doesn’t simply descend. It grows when we return to it, again and again, in practice. As Martin Buber wrote, “God dwells wherever man lets Him in.” All we need to do is show up.

Rabindranath Tagore offered another image I love: “Faith is the bird that sings when the dawn is still dark.” Faith doesn’t guarantee ease or clarity—it just keeps us walking through the night. It gives us a voice to sing in the silence, a way to stay the course through shadow and uncertainty.

What unites inspiration and faith, I believe, is mystery. Both dwell in a space beyond logic—just close enough to feel, but too far to name. There’s something sacred in that proximity. It’s not about understanding; it’s about surrender. My work—both as a creator and as a seeker—is to meet that mystery with openness. To let it in. To keep showing up, even when I don’t know why.

January 2023

Tsagaan Suvraga #1, Mongolia

In The Wind-Up Bird Chronicle, Haruki Murakami tells a haunting tale through the voice of Lieutenant Mamiya, an aging Japanese officer who recounts his time in Mongolia during the brutal 1930s war between Japan and Russia. In one unforgettable scene, Mamiya describes how his team was captured by Mongolian and Russian soldiers. He was forced to watch, powerless, as one of his comrades was skinned alive—then left to die at the bottom of a well. The image is visceral, brutal. And yet, it is not only the violence that lingers—it is the stark Mongolian landscape that frames it. Harsh, colorful, wide open. A place where human cruelty and cosmic beauty coexist.

That passage stirred something in me. I needed to see Mongolia with my own eyes. So, in 2014, I spent a month roaming the country with three other travelers, a local guide, and a driver. We crossed long, empty stretches of the Gobi Desert, where the land rolls on endlessly—bleak, vast, and silent. The isolation is profound. It’s not the kind of emptiness that asks for pity; it commands respect. The Mongolian people, shaped by centuries of survival in this unforgiving landscape, carry a mental toughness and quiet dignity that is hard to describe.

One morning, just after sunrise, I stepped out of the ger—the traditional Mongolian yurt—and went for a walk. The air was crisp. From a distance, I noticed a gathering of camels. They stood together in a slow, swaying cluster, clearly drawn to something. Curious, I made my way toward them, moving carefully between their imposing bodies.

At the center of the gathering was a young man, crouched at the edge of a stone well, pulling water by the bucket and pouring it into a large feed trough. The camels waited patiently. Their sheer size and presence were humbling, but what caught my attention most was their posture. A camel’s health can be read through the shape of its hump. A firm, tall hump signals strength and vitality; a drooping one reveals hunger or thirst.

It was a simple act—watering animals at dawn. But in that moment, it held the weight of something ancient. A quiet, resilient rhythm. The kind that binds humans and animals, land and survival, gesture and grace. Mongolia spoke through that scene, not with words, but with silence and presence. And I listened.

January 2023

Acido Dorado #1

We spent a weekend with friends at Acido Dorado, a desert retreat designed by architect Robert Stone, nestled in the Joshua Tree landscape. The house is minimalist—just two bedrooms, but open and spacious. Gold is the dominant color, but it doesn’t shout; it hums. It blends seamlessly with the desert around it, mirroring the shifting light and sandy hues.

Mirrors cover unexpected surfaces—sliding doors, a tiled ceiling, the dining table, even the coffee table. The effect is disorienting at first, then hypnotic. Reflections multiply. Inside and outside blur. I had the rare sensation of living inside a piece of art. Not quite Yayoi Kusama’s Infinity Mirror Room—but close. More subtle. More still.

Gold, of course, carries many connotations. It is revered, desired, dismissed, and judged—often all at once. Some see it as the color of divinity or abundance; others associate it with excess or kitsch. These meanings are not fixed—they shift with culture, context, and time.

Robert Stone doesn’t shy away from this tension. He once said, “The only people that care about distinctions between high and low culture aren’t interested in beauty or truth anyway.”

That weekend, surrounded by golden light and infinite reflections, I felt what he meant. The house didn’t ask me to judge. It asked me to be present. To see. To feel. To stop drawing lines between what’s worthy and what’s not. It was enough just to be inside the moment, inside the mirror.

👉 You can explore the house further here: Acido Dorado – Robert Stone Design.

January 2023

Florence Synagogue #1

Whenever I think about prayer, a particular story comes to mind.

A young boy lived alone on a remote farm, his only companions goats and roosters. He couldn’t read or write. On Yom Kippur—the holiest day in the Jewish calendar—he wandered into the synagogue of the Baal Shem Tov, the legendary 18th-century Hasidic rabbi who lived in what is now Ukraine.

Unable to follow the liturgy, the boy listened intently to the melodies and chants rising around him. As the prayers grew louder and more desperate, the Baal Shem Tov himself became visibly agitated. His distress spread through the congregation, and the prayers swelled with urgency.

The boy, watching in silence, longed to join in. But he didn’t know a single word. His heart pounded. Finally, unable to hold back any longer, he let out a cry—raw and unrehearsed.

Cock-a-doodle-do!” he shouted. “God, have mercy!

The congregation froze in horror. Shocked whispers filled the room. A mockery? On Yom Kippur?

But the Baal Shem Tov smiled, then began to pray with joy.

Later, he explained: “I saw calamity approaching. My prayers could not pierce Heaven’s gates. All seemed lost. But then came that one cry—pure, unguarded—and the gates flew open.”

I’ve heard different versions of this story. In some, the boy plays a flute. In others, he juggles. The details shift. What stays the same is the truth at its core:

There’s more than one way to pray.

What’s yours?

January 2023

Waiting for the Cherry Blossoms, Golan Heights, Israel

On my visit to Israel last April, I found myself in the Golan Heights, standing among cherry trees just weeks before they would bloom. The branches were bare, the promise of color still tucked deep within. It made me think about the nature of waiting—how it shapes our inner world.

Sometimes we wait by choice. Sometimes we wait because we must. And then there are the moments of unconscious waiting—the kind that intrigues me most. The kind we don’t even realize we’re doing until something shifts.

There’s a section on my bookshelf I call the denial section. Over the years, “books” have quietly appeared and disappeared there—not actual books, but pieces of memory, truth, or pain I wasn’t ready to face. These shifts were rarely conscious. Placing a “book” on that shelf was often an act of survival—a silent agreement with myself to not look too closely.

And so I wait. Sometimes for years. The waiting comes with numbness, with fog, with forgetfulness. Until one day, something small happens—a conversation, a dream, a phrase I’ve heard a hundred times but now lands differently. And suddenly, the light switches on. A “book” comes off the shelf. I’m ready to see something I couldn’t see before.

These moments—when a quiet truth reveals itself—feel like blossoms after winter. A soft but unmistakable sign that I am growing. That something has shifted. That it’s time to move on.

Anaïs Nin wrote, “And the day came when the risk to remain tight in a bud was more painful than the risk it took to blossom.”

Somewhere in the Golan, the trees were holding that same tension. Waiting for the right moment. And soon, without noise or announcement, they would bloom.

January 2023

Tecopa Hot Springs #2

At first glance, Tecopa looks bleak. A tiny desert town on the southern edge of Death Valley, it’s just an hour’s detour from Baker on the road between Los Angeles and Las Vegas. A scattering of trailer homes, a couple of motels frozen in time, and a few modest hot springs make up the landscape. There are no gas stations, no stores—just barren mountains standing watch in the background.

But then, on a second look—if you pause, slow down, and let your senses adjust—Tecopa reveals something else. Beneath its dry, cracked surface lies a quiet kind of magic. Warm waters bubble up from the earth. The silence is thick but gentle. The night sky stretches endlessly overhead.

It may not look like much, but Tecopa, in its own way, is an oasis in the desert.

August 2022

Odem Forest, the Golan Heights, Israel

A dense forest always makes me think of being lost—not necessarily in space, but in the mind. The discomfort of not knowing where you are, of wandering through something vast and unfamiliar, is more a mental sensation than a physical one. Yet getting lost, I’ve come to believe, is not a waste of time. As a wise man once said, “Not until we are lost do we begin to find ourselves.”

The Odem Forest, made up of various species of oak, is a remnant of the natural woodland that once blanketed much of the Golan Heights. Walking through it feels like stepping into a forgotten memory—quiet, layered, alive. At its heart lies something deeper: a volcanic cavity, 250 meters across and about 60 meters deep. It was formed long ago when pressurized gas beneath the earth’s crust triggered a violent eruption, leaving behind a crater now softened by time and trees.

The forest, with its tangle of branches and hidden depths, feels like both a place and a metaphor. We get lost there—in thought, in history, in ourselves. And sometimes, that’s exactly where we need to be.

August 2022

Golden Temple #2

Most of the time, the painting process comes with ease. The work seems to be waiting—quietly inviting me in, like a mystery that wants to be uncovered. But occasionally, a painting resists. Something doesn’t sit right with my eye, and the process turns into a struggle.

Golden Temple #2 was one of those. I nearly put it aside more than once, tempted to move on to something fresh and forgiving. But I didn’t. I stayed with it.

The issue was the gold. Specifically, the shade—and the stripe’s thickness. No matter what I tried, it didn’t feel balanced. I experimented with different gold tones, repainting the stripes several times. Nothing felt quite right.

Eventually, I stopped. I let it be.

Not because it was perfect, but because something in me had shifted. I realized that not every resolution comes from pushing. Sometimes, it comes from accepting. From stepping back and allowing the work to hold its own imperfection—its own truth.

May 2023

Varanasi, India

In 1982, I visited the city of dying.

In Hindu tradition, Varanasi is the most sacred place to leave this life and begin the next. On the banks of the Ganges, the endless cycle of reincarnation finds pause. To be cremated here, and to have one’s ashes scattered into the sacred river, is believed to offer liberation—freedom from the cycle, and a merging with the divine.

At the time, I was young, strong, curious, wounded—and far from spiritually awake. I wandered the narrow, crowded streets near the ghats, the steps leading down to the river. There, we encountered people waiting to die. The sick, the skeletal, the cancer-stricken, the lepers, the elderly. Many wore only a loincloth and carried a begging bowl—nothing more.

And yet, what I remember most is not their frailty, but their eyes. There was no fear. No despair. Only calm. A kind of luminous acceptance that seemed to radiate from deep within. It unsettled me. I struggled to look at them directly. I was filled with discomfort, even horror—unable to comprehend their peace through the lens of my own inner chaos.

In those days of vagabond travel, I took very few photographs. Film was precious, expensive—and I was cheap and cautious. The few images I did capture are heavy with shadow and contrast, cloaked in darkness. Looking back, that feels right. They reflect the part of me that could not yet see clearly. That was still searching for the courage to meet life—and death—on its own terms.

👉 More about that first vagabond trip in the early ’80s.

Joshua Tree #3

It’s so easy to take the other path when the days are short and cold—to hunker down, stay inside, and avoid venturing out. But December in Joshua Tree offers something rare. Yes, it’s cold, but the air is crisp, the light is sharp, and the sky—exceptional in color—casts a particular intensity over the landscape. The park becomes a quiet heaven for photography.

Sometimes, I find the sky more stunning than the rock formations themselves. The famous boulders, with their moon-like presence, appear almost as if a child had stacked them in play. But in truth, they’ve been shaped patiently—sculpted by wind and water over millions of years.

And then there are the trees. Those surreal, spiky silhouettes. To me, they evoke the angular, raw line work of Egon Schiele’s nude drawings. Danna might say they belong on a page from a Dr. Seuss book. Either way, they exist somewhere between the whimsical and the sacred. Between dream and desert.

January 2022

 

Joshua Tree #2

Unusual plants grow in this park—twisted, reaching, and full of character. They’re called Joshua Trees.

Joshua Tree National Park lies in a desert land sculpted by strong winds and rare, but powerful, rains. Every time I visit—just a two to three hour drive from Los Angeles—I find myself thinking about the roots of these desert trees. How deep they must reach into the earth to draw the smallest trace of water. How quietly, persistently, they survive.

And as I walk between the boulders and under the vast, open sky, something inside me sinks deeper, too. The silence here is not empty—it deepens my own roots, connecting me to an inner wellspring I sometimes forget is there.

Joshua Tree forests tell a story—of survival, resilience, and the kind of beauty that only perseverance can grow.

January 2022

What Some Famous Painters Said About Color

Color has long carried meaning beyond pigment—evoking emotion, shaping composition, and opening portals to the unseen. Artists have tried to define it, wrestle with it, even personify it. Here are a few reflections from painters who saw color not just as visual, but as spiritual, emotional, and deeply symbolic:

Blue is the only color which maintains its own character in all its tones; it will always stay blue; whereas yellow is blackened in its shades and fades away when lightened; red, when darkened, becomes brown, and diluted with white is no longer red, but another color—pink.”
Raoul Dufy

Blue is the male principle, stern, and spiritual. Yellow is the female principle, gentle, cheerful, and sensual. Red is matter, brutal and heavy, and always the color which must be fought and vanquished by the other two.
Franz Marc

Sun-bleached bones were most wonderful against the blue—that blue that will always be there as it is now after all man’s destruction is finished.
Georgia O’Keeffe

The deeper the blue becomes, the more strongly it calls man towards the infinite, awakening in him a desire for the pure and, finally, for the supernatural … The brighter it becomes, the more it loses its sound until it turns into silent stillness and becomes white.
Wassily Kandinsky

Golden Temple #1

The Golden Temple is serene, graceful, humbling—an unmistakably meditative sight. We spent half a day simply sitting and observing, watching the sunlight shift across its gleaming surface and the colorful flow of pilgrims moving reverently around it. From every angle, the structure radiated stillness and devotion.

The temple complex is expansive, surrounded by pristine white marble—polished to a soft glow and warm beneath the feet. Visitors walk barefoot, an act that feels both grounding and sacred. There’s something calming about the way it all unfolds: the water, the gold, the people, the silence.

A few facts about this sacred place deepen the awe:

  • The Golden Temple is covered in gold plates—500 kilograms of pure 24-karat gold, with an estimated worth of $22 billion.
  • The pond that encircles the temple is known as the “Pool of the Nectar of Immortality.” Many devotees bathe in its waters, believing in their healing and spiritual properties.
  • Sikhism rejects the caste system, and the temple reflects this ethos. Its four entrances—one on each side—symbolize openness and equality. All are welcome, regardless of gender, background, or religion.
  • There are no priests or intermediaries. Sikhism teaches that there is only one God, and every human being has direct access to the divine.
  • The temple is home to the largest free kitchen in the world, serving more than 50,000 meals daily, all prepared and shared by volunteers in the spirit of seva—selfless service.

What struck me most was the spirit of quiet generosity that filled the air—not just in ritual or architecture, but in the everyday acts of sharing, cleaning, cooking, and welcoming. The Golden Temple isn’t just a marvel of gold and stone—it’s a living expression of humility and unity.

👉 For a deeper exploration of the Golden Temple please visit North India: The Stunning Northern India Landscape.

January 2023

The Grand Canyon

The Grand Canyon is one of those places no photo can truly capture. Its scale defies the frame. Even when you’re standing at the edge, staring down into its vastness, it’s hard to grasp how far away the bottom really is.

You can view the canyon from either the South Rim or the North Rim—both are breathtaking in their own way. The North Rim sits about 1,000 feet (300 meters) higher in elevation, offering cooler temperatures and fewer crowds. The South Rim, however, is more accessible and popular, especially for first-time visitors. From the South Rim, the sun is usually at your back—ideal for photography and vivid color contrasts across the canyon walls.

There are four main trails leading down to the Colorado River from the South Rim, and one from the North Rim. You can hike as far as you’d like before turning back—no permit needed for day hikes. But if you plan to go all the way to the bottom and camp overnight, you’ll need a permit, which can be reserved in advance through the National Park Service website.

Descending into the canyon is no simple walk—it’s a journey into geologic time. To stand at the bottom and look up at those towering walls, or to feel the crisp water of the Colorado River, is a visceral experience. Still, anyone in decent physical shape can manage at least a few miles and take in the grandeur from within.

If you’re up for the full adventure, I recommend hiking down via the South Kaibab Trail, staying a couple of nights at Phantom Ranch, and climbing back up on the Bright Angel Trail. It’s a challenging but unforgettable loop—a way to not just see the canyon, but to live inside its silence, shadows, and immense beauty.

👉 For more about the Grand Canyon, see this travel reflection: The Grand Canyon Legacy of Pete Berry

March 2021

Green and the Two Worlds in The Matrix

A dominant visual motif in The Matrix is the color green. The film’s simulated world—the Matrix itself—is presented through a subtle green filter, visually separating it from the more natural tones of the real world. This was no arbitrary choice.

The Wachowski siblings (then credited as the Wachowski brothers) didn’t choose green simply because it looked cool or futuristic. The Matrix could have easily been tinted red, blue, or even purple. But green carries specific psychological and symbolic weight. In the film, it evokes unease—an artificial glow that suggests something is off. In this context, green becomes more than just a stylistic decision; it becomes a moral statement.

A world that imprisons people without their knowledge, that removes choice and autonomy, is—by the film’s logic—evil. The green tint helps convey that. It creates a sense of distortion, of surveillance, of being trapped in something that mimics life but isn’t truly alive.

The choice also echoes the computer culture of the 1990s, when monochrome monitors displayed green text on black screens. The film’s digital rain and visual palette tap into that era’s aesthetic, with its distinctive green glow, reinforcing the artificiality of the simulated world.

Green, then, is not just color—it’s code. A signal that what we’re seeing is a controlled illusion.

August 2022

Maroon Hypnosis

Hypnosis is a trance-like state of consciousness—one marked by deep relaxation and an intense narrowing of focus. It quiets the noise of the external world and draws the mind inward, toward stillness and suggestion. In its best form, hypnosis isn’t about losing control but about entering a heightened state of awareness.

Maroon, by contrast, is a color of tension and potency. It evokes intensity, passion, risk, and strength. It carries the deep red of blood and earth, tempered by the darkness of restraint. Unlike bright crimson, which demands attention, maroon simmers—it invites contemplation rather than confrontation.

The two—hypnosis and maroon—seem paradoxical at first. One calms, the other stirs. And yet, during my travels in Ladakh, high in the Himalayan mountains, I encountered a moment where they merged.

Inside a remote Buddhist temple, a series of maroon banners hung from the rafters, motionless in the dim, incense-thick air. Their rich hue, deep and absorbing, radiated a quiet intensity. As I stood there, surrounded by the stillness of prayer and stone, the sight of those banners became strangely hypnotic. Time slowed. My focus sharpened. The mind emptied.

It was a visual trance, drawn not from movement but from color—from the way maroon held the space between power and peace. I stood there, suspended, not thinking, just being.

Sometimes, the most profound states are triggered not by sound or suggestion, but by something as simple—and as powerful—as color.

October 2021

A Pilgrimage to the Shore Temple in Mamallapuram, India

When I saw this group of women in 2015, I was struck by the quiet dignity of their movement—and by the deeper meaning it seemed to carry. Dressed in radiant red and gold saris, they were likely pilgrims from a nearby village, perhaps just a few hours away by bus or truck. Their clothing wasn’t casual or everyday—it was ceremonial. Sacred. They wore their finest for the journey to the Shore Temple in Mamallapuram, a centuries-old sanctuary perched on the edge of the Bay of Bengal.

This wasn’t tourism. It was something else—a spiritual journey in search of connection, meaning, and presence. A pilgrimage.

Joseph Campbell once wrote:

“A ritual is the enactment of a myth. And, by participating in the ritual, you are participating in the myth. And since myth is a projection of the depth wisdom of the psyche, by participating in a ritual… your consciousness is being reminded of the wisdom of your own life.”

Watching those women, I could feel that wisdom in motion. A ritual unfolding not in words, but in rhythm, color, and quiet devotion. Their pilgrimage reminded me that meaning isn’t always found through explanation—sometimes it’s found through the act of showing up, with intention and reverence, to a place that still holds memory.

👉 For more on this journey, see my full South India travel essay.

August 2022

Joshua Tree #1

Where does the name Joshua Tree come from?

In the 1850s, Mormon pioneers crossing the Mojave Desert encountered a strange, spiky tree with outstretched branches. Its form reminded them of a biblical image—Joshua, the leader of the Israelites, raising his hands toward the sky in prayer. Struck by the resemblance, they named it the Joshua Tree.

The name stuck, unlike its less poetic alternatives: Cabbage Tree, Spanish Bayonet Tree, Yucca Palm, Yucca Tree, or Tree Lily.

Something about Joshua Tree captured both the tree’s shape and its sense of resilience—standing tall and reaching skyward in a harsh and holy landscape.

February 2021

Purple Hat

“Purple Hat” is a song by the American duo Sofi Tukker. During the early months of the COVID-19 lockdown, I listened to their daily Facebook Live sets every morning—without fail. Their music became a ritual, a rhythm that helped carry me through those strange, uncertain days.

Each morning, I would set out on a 10-mile bike ride. I’d ride along Ballona Creek, down to the Marina, and then head south along the ocean to Lifeguard Station 56. The streets were nearly empty—no traffic, few pedestrians. The world felt paused. But out there, riding with the wind at my back and the sound of Sofi Tukker in my ears, I felt alive. I felt in sync with nature and with something quieter, deeper, within myself.

I’m deeply grateful for their music and for the heart they brought into that daily offering. It was more than a soundtrack—it was a lifeline.

September 2021

Fairbanks, Alaska

Fairbanks lies about 200 miles south of the Arctic Circle. I was excited to reach this far north—expecting a remote, rugged little mining town in the middle of nowhere. But Fairbanks surprised me.

Yes, it began as a gold-mining settlement in 1901 and mining continues to this day. But the construction of the Alcan Highway during World War II and the Trans-Alaska Pipeline in the 1970s turned it into a regional hub for rural Alaskans. It’s a city—not large, but not as isolated as I imagined.

When I visited, it was a warm 70°F. The sunset arrived at 12:47 a.m. and rose again just two hours later. But even those “dark” hours weren’t truly dark—just a soft, lingering twilight that felt dreamlike.

Fairbanks is also known as one of the best places to witness the Aurora Borealis, the Northern Lights. In winter, the skies come alive in swirling greens and purples. There are even websites dedicated to predicting the optimal times to see them. I can only imagine what it feels like to witness that—a euphoric, spiritual brushstroke from nature herself. But that magic is reserved for the long, cold Alaskan winters.

👉 For more northern reflections, see my Alaska travel page: Alaska Call of the Wild

September 2021

Blue and the Italian Soccer Team

In a psychological experiment, researchers gave two groups of people a placebo pill—an inert substance with no therapeutic effect, often used in drug testing. The pills were identical in size and shape, but one group received a red pill, the other a blue one.

The results were consistent across the globe: the red pill tended to stimulate people—waking them up, sharpening alertness. The blue pill, by contrast, had a calming effect—making people feel drowsy or relaxed. But there was one notable exception: in Italy, the blue pill had no sedative effect on men. It worked on women—but not on men.

Why?

The answer lies in cultural conditioning. Italy’s national football team wears blue—azzurro—a bright, electric shade reminiscent of a cloudless summer sky. Italian men are famously passionate about soccer. For many, that specific shade of blue triggers excitement, pride, adrenaline. Their nervous systems have been so deeply “programmed” by years of emotional association with the team’s color that the usual tranquilizing effect of blue is overridden.

This experiment highlights a fascinating insight: while humans may share certain universal, physiological responses to color, culture can rewrite those responses. A single color can simultaneously evoke calm in one part of the brain and high emotional arousal in another, depending on personal or societal conditioning.

So while blue might mean serenity to most, to an Italian football fan, it might mean victory, history, and thunderous emotion. Azzurro is more than a color—it’s a call to action.

Light Intuition

I once heard in a sermon that God’s voice is not as eloquent as His silence.

Walking in faith can feel like navigating a sandstorm. You think you’re moving in the right direction—only to find you’ve been walking in circles. In those moments, the wisest choice may be to stop, lie low, and wait for the winds to settle and the view to clear. It’s the same with certain emotions. They cloud our vision, but eventually, they pass.

Patience, though, is no easy virtue. It’s a muscle—one that must be stretched, challenged, and trained. I’ve learned that it’s often in the pause, in the quiet in-between, that I begin to hear the whisper of grace.

When I allow myself to rest and wait, I start to see: the storm isn’t coming from outside. It’s not blowing in from some faraway land. It’s within me. It is me. And in that realization lies the invitation—not to run, but to turn inward. To dig deeper. To uncover the story behind the story.

What feels like disorientation is, sometimes, the start of clarity. What feels like stillness is actually transformation. And what begins as a storm might be the light calling you home.

August 2021

Gold Ladakh

There may well be untapped gold deposits hidden deep within the mountains of Ladakh—but another kind of gold is undeniably abundant in that Himalayan region: the spiritual kind.

In 2016, I traveled there with Danna and Tomer. Surrounded by high-altitude silence, prayer flags, and ancient paths, I found myself thinking often about the Buddha’s final words:
“Be a light to yourselves, seek no other, never give up.”

I also recalled another teaching attributed to him:
“Believe not because an old book is produced as authority. Believe not because your father said [you should] believe the same. Believe not because others like you believe it. Test everything. Try everything. And then believe it. And if you find it for the good of many, give it to all.”

In Ladakh, gold isn’t measured in ounces or mined from rock. It’s something quieter, deeper—discovered not through digging, but through presence, stillness, and the willingness to search within.

👉 For reflections on spirit, silence, and altitude, visit my North India travel page: North India Stunning Landscape

June 2022

Olive Treehouse

Olive trees are heavy with symbolism—victory, healing, friendship, peace. For me, they evoke something even deeper: a rootedness, an ancient memory of land and time. Olive trees conjure a sense of continuity. Many are thousands of years old, yet they still bear fruit—resilient, weathered, alive.

East of Jerusalem’s Old City lies the Mount of Olives. Once blanketed in groves, today only a scattering of trees remain. But the view from the mountaintop still offers the best panorama of Jerusalem—its old stones, its tension, its quiet endurance. The mountain is home to one of the oldest Jewish cemeteries in the world, with graves that date back to biblical times. It is also a sacred site for Christians, marked by churches like the Church of All Nations.

And yet, the olive tree is no longer just a symbol of peace. In the Israeli-Palestinian landscape, even trees can become political. Ownership, access, and harvest have turned something as sacred and simple as an olive into a flashpoint—its roots caught between two narratives, two histories, two sorrows.

Still, when I think of olive trees, I think of the old ones. Twisted trunks, silver-green leaves shimmering in dry wind. Carriers of silence and story. Witnesses.

September 2021

Jazzy

This painting was inspired by a vivid moment I experienced while motorcycling through Vietnam. I had reached the northern town of Bac Ha, near the Chinese border—a region where many ethnic hill tribes live much as they have for generations, far removed from the pulse of modern life.

On Saturdays, Bac Ha transforms. The market becomes a hive of movement and sound. Hill tribe families descend from the mountains, bringing with them handwoven textiles, embroidered garments, baskets, livestock, and freshly picked produce. It’s not just a place to buy or sell—it’s a cultural gathering, an explosion of tradition and color.

I wandered through the market, camera in hand, trying to frame the perfect shot. But at some point, I stopped composing. I let go. The photos became instinctive. Raw. A feast of color, rhythm, and improvisation—like jazz.

That energy, that spontaneity, stayed with me. It’s what I tried to capture in Jazzy—not a literal translation of the place, but the feeling it stirred: bold, alive, and joyfully uncontained.

👉 For more stories and reflections from this journey, visit my Vietnam & Cambodia travel page.

March 2021

Gray & Purple

Gray is the middle-of-the-road type—cool, reserved, composed, and reliable. I often find myself drawn to wearing gray, especially when it’s paired with a touch of something more striking. It feels safe. Neutral. A non-emotional color that neither demands attention nor invites conflict.

For me, gray has a quiet authority. It grounds me. It tempers my energy, softens extremes, and offers balance when the world feels too loud. In a way, it’s a background color—but one that holds space with quiet strength.

When accented with something bold—say, purple—gray becomes a frame for expression. It allows other colors, and emotions, to emerge without losing composure.

February 2020

Cottonwood Tree

In December 2020, we emerged briefly from the long stretch of COVID house arrest and set out for the Grand Canyon. We reached the bottom of the canyon by mule—four hours down and four hours back up. The ride was steep, slow, and unforgettable.

At Phantom Ranch, nestled near the Colorado River, we came upon a breathtaking sight: a massive cottonwood tree, its canopy glowing with yellow leaves. In the fall, the cottonwood’s bright green foliage transforms into a brilliant golden hue—like sunlight held in the branches. It was a moment of unexpected beauty, a vivid contrast to the deep reds and browns of the canyon walls.

Yellow is the color of sunshine, of hope and cheerfulness, of warmth and lightness. That cottonwood tree—rooted at the bottom of the canyon, standing tall in its autumn radiance—felt like a gentle reminder: even in the depths, light finds a way.

👉 For more reflections from the canyon’s edge and beyond, visit my Grand Canyon travel page.

January 2021

Isla Del Sol, Bolivia

One of the most transcendent blue landscapes I’ve ever witnessed was on Isla del Sol—a small island in the heart of Lake Titicaca, perched high in the Andes, straddling the border between Bolivia and Peru.

It takes a couple of hours by boat from Copacabana to reach it, but the journey feels like part of the awakening. According to Inca mythology, Isla del Sol is the birthplace of the sun—a sacred place where legend and light converge.

The island radiates peace. Its quiet hills, stone paths, and ancient terraces invite a slower rhythm. Time expands. The best way to explore it is by walking—strolling at the island’s pace, letting the stillness and vastness of the lake guide your steps.

Here, surrounded by water and sky, you don’t just see blue—you feel it. It’s a color that enters your breath.

February 2021

Tecopa Hot Springs #1

For many years, I’ve visited Tecopa Hot Springs around December. I consider it a kind of pilgrimage.

The drive itself is part of the ritual—a long stretch through vast, open desert, where space expands and thoughts begin to settle. It’s a journey that invites inwardness. A quiet encounter with self.

The desert is far from colorless. In fact, the entire spectrum is there—muted, subtle, always softened by tones of tan and gray. There’s a humility to the desert’s palette, a restraint that makes its beauty feel earned, not announced.

Something about Tecopa—the silence, the heat of the mineral water, the stillness of the landscape—makes it a place I return to not just for rest, but for reflection.

April 2021

Rosh Hashanah

I painted this during the week of Rosh Hashanah—the Jewish New Year—in September 2021. For me, this time is more than a celebration; it’s a season of reflection, of quiet reckoning, and of deep connection with my Higher Power.

It’s a moment to pause and consider my purpose in life. To ask, honestly, where I’ve been and where I hope to go. To listen for my true promise—the inner voice that guides me beneath the noise.

And it’s a time to pray—for a sweet, meaningful, and compassionate year ahead.

September 2021

Night

“The deeper the blue becomes, the more strongly it calls man towards the infinite, awakening in him a desire for the pure and, finally, for the supernatural… The brighter it becomes, the more it loses its sound until it turns into silent stillness and becomes white.”
Wassily Kandinsky

Night holds a different kind of silence—one that doesn’t suppress but invites. It arrives not with noise or certainty, but with depth. Like Kandinsky’s blue, it expands inward as much as outward. The deeper the night, the more it stretches the boundaries of thought, memory, and imagination.

When the sun disappears and the world loses its sharpness, something else sharpens inside. The external fades, and the internal becomes vast. I’ve always felt that the color of night isn’t black—it’s blue. A deep, layered indigo that holds mystery and tenderness. It doesn’t shout. It listens.

Blue—especially at night—evokes longing. Not for something specific, but for something beyond. Something infinite, as Kandinsky said. In the stillness, there’s a subtle pull toward the spiritual, the unnameable, the essence we often overlook in the light of day.

As blue deepens into silence, and silence softens into stillness, the self loosens. Identity becomes less about edges and more about presence. And eventually, like the last hint of blue turning white, the night becomes pure awareness—wordless, soundless, whole.

May 2020

We Taste with Our Eyes

Color is one of the most powerful visual cues we have—so powerful, in fact, that it can shape our perception of taste before we even take a bite.

In one experiment, four bowls of jello were prepared. Each was completely flavorless and odorless, but dyed with a different food coloring: red, yellow, green, and blue. Participants of all ages and from various parts of the world were asked to look at the bowls, taste each one, and describe the flavor.

The responses were remarkably consistent:

  • The red jello was described as sweet—evoking berries, cherries, or strawberries.
  • The yellow jello tasted sour, like lemon.
  • The green jello was perceived as tart, reminiscent of green apple.
  • The blue jello? It was described as off or yucky—oddly unpleasant, perhaps because blue is rarely found in natural foods and often associated with spoilage or mold.

The real twist came after the tasting. Participants were told that all four jellos were identical—no flavor, no scent, just colored gelatin. The reaction was almost always disbelief. Many felt tricked. Teenagers resisted the truth. Adults didn’t believe it either. Their brains had convinced them that what they saw determined what they tasted.

This experiment has been repeated with puddings, cereals, drinks, and more—with the same results. Researchers concluded: we taste with our eyes long before we taste with our mouths. Color primes the brain, shaping expectation and, in many cases, overriding actual sensory input.

In another study, researchers asked people around the world to rank three outfits—one red, one blue, one black—in order of attractiveness. Across cultures and genders, blue consistently came out on top as the most appealing and preferred color to wear.

Together, these experiments reveal something fundamental: while color has universal associations (like red suggesting sweetness), it can mean vastly different things depending on the context—food, fashion, emotion, culture. It’s not just decoration. Color communicates. It persuades. It frames our experience—even before we know it.

Red Indian Saree

One of the most striking things I experienced in India was how unafraid people are of color. There’s a fearless vibrancy everywhere—on the streets, in temples, in textiles, and especially in what people wear.

The saree, worn by many Hindu women, is a powerful example. It’s not just clothing—it’s expression, tradition, and movement woven into one long, flowing piece of fabric. A saree is typically between 4.5 and 9 meters (15 to 30 feet) in length, wrapped and draped around the body and over one shoulder with effortless grace.

What caught my eye most were the color combinations—bold, unapologetic, and dazzling. Sarees in deep red or magenta, paired with mustard yellow, orange, grey, or gold, seemed to shimmer with life. The golden-gray against rich hues created a kind of visual music—unexpected, yet harmonious.

In a world where color is often subdued, India’s embrace of vibrancy felt like a celebration—of culture, of identity, and of beauty worn with pride.

April 2021

Chalalan Ecolodge, Bolivia

Deep in the heart of the Bolivian Amazon rainforest—five hours by canoe from Rurrenabaque, first along the Beni River, then up the Tuichi River—sits Chalalan Ecolodge. Nestled on the banks of the Chalalan Lagoon within Madidi National Park, this remarkable lodge was built and is operated by the people of San José de Uchupiamonas, an Indigenous village committed to sustainability and conservation.

Chalalan is fully solar-powered and designed to blend with its lush surroundings. Despite its remote location, the lodge offers comfort, exceptional food, and guided hikes into the surrounding jungle. It’s not just a destination—it’s a living model of community-led ecotourism and is considered one of the most successful examples of Indigenous ecotourism in the world.

The painting inspired by this place measures 81 by 11.5 inches (206 by 29 cm)—a long, immersive format echoing the vast horizon of jungle and water, and the long, quiet passage by canoe that takes you there.

👉 For more reflections from the Andes to the Amazon, visit my Bolivia Family Adventure page.

July 2023

Merlot

In what used to be the heart of Los Angeles’ Broadway Theater District stands the Ace Theater—a gem from another era. Built in 1927 in the lavish Spanish Gothic style and inspired by the Segovia Cathedral in Spain, it’s a soaring, intricate reminder of the city’s cultural past. Stepping inside feels like uncorking a rare vintage—rich, layered, and beautifully aged.

That memory brought to mind the color merlot—a deep purplish red, like the wine it’s named after. Merlot wine draws its hue from red-skinned grapes, and the color itself evokes warmth, depth, and slow unfolding pleasure.

Like the Ace Theater, merlot holds something timeless. It’s not just a shade or a taste—it’s a mood. A quiet intensity. A cultivated richness that lingers long after the moment has passed.

December 2020

The Dark-Hunter

The Dark-Hunter is no ordinary warrior. He is a soul once human—flawed, betrayed, and broken—who struck a deal with the Greek goddess Artemis in his final moments of agony. For one act of vengeance, he gave up everything: his peace, his afterlife, his very humanity.

In return, he was granted immortality and a sword blessed by the gods, forged to cut through shadows and curses alike. But the price was steep. He now walks alone in the dark hours between dusk and dawn, invisible to the world he protects. His only purpose: to hunt and destroy the daimons—demonic entities that feed on human souls, spreading chaos and despair wherever they go.

Cursed to feel the weight of every soul he couldn’t save and haunted by the memory of the one moment that changed his fate, the Dark-Hunter lives outside the boundaries of time and mortal comfort. He does not age. He does not dream. His heart beats only to the rhythm of battle.

Though Artemis gave him power, she offered no redemption. His existence is one of service and solitude, a penance for the rage that once consumed him. He is not a hero by choice, but by necessity. Some call him a myth. Others call him death in the shadows. Few ever see him. Fewer still understand him.

And yet, despite the darkness he lives in, there is a faint ember inside him that refuses to die. A fragment of who he once was. A flicker of hope that perhaps—just perhaps—fighting for others might one day earn him his own salvation.

November 2020

Salvador Dalí Desert #1, Bolivia

More than any other landscape, the desert offers an uninterrupted horizon—clean, expansive, and without obstruction. Nothing rises to block the eye or the mind. At first glance, the colors seem monotone, almost austere. But once the eyes adjust—and the soul opens—what seems minimal becomes infinite. The desert doesn’t shout. It waits.

The Salvador Dalí Desert (Desierto Salvador Dalí), tucked high in the Andes of Bolivia, is one such place. Lonely, surreal, and windswept, it feels like a dream painted in stone. Dalí never visited here, nor did he paint this exact landscape. Yet the strange rock formations and the stark, dreamlike vastness unmistakably echo his Surrealist world. When we stepped out of the car to walk and look around, I found myself glancing over my shoulder, half-expecting to see melting clocks or a herd of flying cats. Was it the surrealism or the thin air? I’m still not sure.

What is clear is that this place lives up to its name. Rarely is a desert named after an artist. More often, it’s the artist who is summoned by the desert—drawn by its silence, its clarity, and its invitation to dream without borders. Emptiness, after all, is not absence—it’s possibility.

The desert is also a space for deeper thinking—away from noise, away from nationalism, away from fixed identity. Michael Ondaatje’s The English Patient explores this beautifully. Much of the story unfolds in the Gilf Kebir, a remote desert plateau in North Africa. The protagonist, László Almásy, a Hungarian explorer, declares himself a man without allegiance: “I came to hate nations,” he says. “Nation-states deform us.” In the vastness of the desert, with no flags, no borders, and no fixed belonging, he finds a deeper kind of truth.

Almásy maps the desert, chases the myth of Zerzura, and falls deeply in love—not only with Katharine, the wife of his expedition partner, but with the very idea of impermanence. The desert becomes both his refuge and his undoing. Though he later aids German forces—not out of ideology, but to save his dying lover—he is still branded a traitor. Even when burned beyond recognition, his identity clings to him. The desert can strip us down, but it cannot unwrite our histories.

And yet, the desert also reminds us: beneath all labels—gender, race, nationality—we are the same. Wounded, seeking, and temporary.

My painting, inspired by this landscape and everything it stirred in me, measures 13 feet by 12 inches (430 cm by 30 cm). A long, horizon-like strip. A visual breath. A gesture of reverence to a place where time distorts, identity dissolves, and silence speaks louder than names.

March 2021

Desert Twilight #1

It turns out people get lost all the time.

The desert is notoriously difficult to navigate. The Bedouins, who have lived in the deserts of the Middle East and North Africa for centuries, seem to carry an innate understanding of the land—a sixth sense that goes beyond maps and direction. Before the days of GPS, they relied on long-lasting landmarks: mountains, giant rocks, ruins, and permanent oases. They read the desert like a story etched in light and shadow, wind and dust.

To cross dunes, they turned to the sun by day and the stars by night. The sun rises in the east and sets in the west. Shadows lengthen at sunrise and sunset, shrinking to near nothing at midday—a natural clock. Dunes form at right angles to prevailing winds; if the wind blows from the east, the dunes align north-south. The Bedouins knew.

At night, the North Star (Polaris) has guided travelers for millennia. Contrary to common belief, it’s not the brightest star in the sky. Navigators like the Bedouins used the Big Dipper to locate it—drawing an invisible line from the two stars at the tip of the Dipper’s cup, Merak and Dubhe, and extending it five lengths to land on Polaris. And in the desert, where the skies are almost always clear, that method rarely fails.

Night navigation became essential in military operations—especially for special forces. In the late 1970s, as a young Israeli paratrooper, I trained in the Negev Desert under those very stars. Night offered concealment, surprise, and invisibility. But it also came with its own friction: simple tasks became complex; silence amplified every sound. You trained in it, or you failed.

Lone navigation was our proving ground. Alone in the desert’s vast silence, you heard your thoughts louder than ever. The real challenge was staying present—fighting the creeping doubt that could pull you off course. You’d memorize every checkpoint from aerial photographs and maps, tracking distance by counting your steps. If you lost that count, you risked losing yourself. That’s how commanders were made—those who could lead themselves in darkness would one day lead others in daylight.

One night in 1979, we were tasked with a solo navigation exercise near the Big Crater in the Negev. One by one, our platoon set off, ten minutes apart, around 9 p.m. We were to complete the route and arrive at the endpoint by 7 a.m.—a long trek of roughly 60 to 70 kilometers. I had studied the map, memorized landmarks, calibrated my step count, secured my gear. I felt prepared. But the desert always has its own plans.

That night was pitch black. The moon, high and dim, offered no help. The kind of darkness we wished for during covert operations—when visibility meant vulnerability. I began strong, locating my first two points with precision, step count intact. But somewhere on the way to the third, my mind drifted—maybe to my girlfriend, maybe just to the stillness itself. I lost count. Lost my sense of distance. Lost the thread.

No map. No flashlight. No visibility. Just me and the dark.

I took a breath and remembered the basics: Polaris marked north. I knew there was a road to the west, about a 1–2 hour walk. I set off in that direction. Eventually, I reached the road and walked until a military bus passed by. I flagged it down, climbed aboard, and found a few of my teammates already inside—each with his own version of the same story.

We were all reprimanded, of course. And for years, I carried shame over that failure. I even procrastinated writing this reflection—it took weeks. I wasn’t ready to revisit the night I got lost, the mission I didn’t complete.

But on a walk this morning, something shifted. Instead of sinking into regret, I asked myself: What went right? We made it out safely. We assessed, recalibrated, and took action. We found the road. No one was harmed. Others have not been so fortunate. That night, we each made a decision that carried us toward safety.

Today, instead of shame, I choose gratitude.

The painting inspired by that night is 13 feet by 12 inches (430 cm by 30 cm)—a long, narrow canvas, like a path etched across twilight. A meditation on movement, memory, and the lessons only darkness can teach.

October 2021

Fusion Ocra

I painted this piece a year ago and put it aside because it felt too intense. The gray dominates the canvas, and the sliver of ocra glows like a thread of light—an image that felt especially fitting for the themes explored in the essay attached, “The Desert and Spirituality.” The painting is 13 feet by 12 inches (2 meters by 30 cm), a narrow horizon—a line of tension, light, and quiet force.

The Desert and Spirituality

Gabrielle Roth, the creator of 5Rhythms dance—the master teacher behind all of my dance teachers—once said: “I want to take you to a place of pure magic… It’s the place athletes call ‘the zone,’ Buddhists call ‘satori,’ and ravers call ‘trance.’ I call it the Silver Desert. It’s a place of pure light that holds the dark within it. It’s a place of pure rhythm.”

As a 5Rhythms dancer, I’ve often wondered why she called it the Silver Desert. Why silver? Why desert? But deep down, I already knew. The desert, like dance, reflects back to us the rawness of who we are. Its silence mirrors the soul. In movement—unguarded, unchoreographed—I can sometimes touch that place within myself that feels sacred. It’s not performance. It’s presence.

In the Torah, when God freed the Israelites from Egypt, He didn’t take them straight to the Promised Land. Instead, He led them through the desert for forty years. Why the desert? And why so long? One explanation is geography: between Egypt and the Promised Land lies the Sinai Desert. But Hebrew offers another layer. The word for desert—Midbar—shares a root with the word Medaber, to speak. The desert is where God speaks. Without distraction, without noise.

The Bible is full of desert encounters. Abraham, Moses, Isaiah, Elijah, Jesus—all wandered into the wilderness. Was it accidental? Or essential? The Ten Commandments, that ancient covenant, were delivered to Moses not in a palace, but on a mountain in the desert.

In my travels, I’ve visited remote monasteries perched in desert landscapes—Buddhist monasteries like Ki in the Spiti Valley and Hemis in Ladakh, and Christian ones like St. Catherine’s in the Sinai and St. George in the Judean Desert. What they all share is their remoteness. They stand alone in the wild, surrounded by raw, barren beauty. There is no insulation from the elements. And yet, they are entire worlds unto themselves—suspended between earth and sky.

The monks who live there lead lives of austerity—governed by silence, discipline, and devotion. There’s something beautiful and terrifying in their totality. Their search for the divine is single-minded, stripped of distraction. I admire it. I also fear it.

I once heard a sermon where the speaker said: God’s voice is not as eloquent as His silence.

Faith, for me, is not loud or certain. It’s like walking in a sandstorm. Visibility is gone. Orientation is blurred. You think you’re walking forward, but you’re moving in circles. In those moments, the best thing to do is to lie low. Wait. Let the dust settle. Let the silence speak.

I’ve come to see that the storm isn’t always outside. Sometimes, it’s inside me. And when I finally stop resisting, I can hear something deeper: the story behind the story. The invitation to grow.

My relationship with God has always been marked by struggle. From a young age, I was furious. How could an all-powerful God let the Holocaust happen? How could He let my parents suffer, then raise children in silence and grief? I wrestled. I questioned. I studied Job, read philosophy, searched for meaning. Nothing satisfied. I was angry. I was broken.

Then, in my early forties, during a deep personal crisis, a wise man told me: You can make your own God. Let go of the one you inherited. Set aside doctrine. Write down the traits you want your God to have, and start there. It was radical—almost blasphemous. Let go of the jealous God, the punisher. Let go of the second commandment’s fear. It felt like a divorce. But also, like falling in love again.

I now believe we come into this world with a boatload of free will. The choices I make are mine. Sometimes, my God looks down from His balcony, saddened. Sometimes, I imagine He cries over my mistakes. But He never leaves. He’s always there—my anchor, my witness, my quiet cheerleader.

This presence isn’t constant. Far from it. But more than it was 20 years ago. And when I feel it—when I’m patient enough to listen—it softens me. It helps me be kind.

David Bowie once said, “Aging is an extraordinary process where you become the person you always should have been.” My spiritual path has been slow, winding, and imperfect. But every day, I move a little closer to the oneness I’ve always longed for. Maybe that’s what Gabrielle Roth meant by the Silver Desert. Maybe it’s not a place, but a threshold—the shimmer between the visible and the unseen, between rhythm and stillness, where darkness holds the light, and the light doesn’t blind, but welcomes.

April 2022

Homage to Georgia O’Keeffe

Why do so many artists leave the big city for the quiet expanse of the desert? Each has their own reason—health, heartbreak, exhaustion, disillusionment with the commercial art world. But what they find in return is often the same: a shift in scale. A new dimension of time and space.

The desert is not vertical—it is horizontal. The skyline stretches, unobstructed. The landscape slows the breath, loosens the mind, and offers the artist what few places can: silence. Time to think. And space to feel.

I’ve always admired Georgia O’Keeffe. Her large floral and abstract prints hung in our living room for years. She was a pioneer—bold, private, and unwavering in her vision. A woman who turned her back on the East Coast art scene and chose the raw, sunbaked solitude of New Mexico. She drove through the desert on her own terms, following where her spirit pointed. She once said, “I’ve been absolutely terrified every moment of my life—and I’ve never let it keep me from doing a single thing I wanted to do.” That, to me, is courage—the kind that leaves a mark not just on canvas, but on history.

She gave American art a new language—shaped by the land, the wind, and her own fiercely individual eye. She also opened a door for women artists. She didn’t demand recognition—she claimed it, simply by doing the work.

If you Google “Georgia O’Keeffe flowers,” you’ll find that her name is frequently paired with the words vagina or vulva. This association didn’t originate with her. It came from male critics, many of them desperate to interpret a woman’s work through Freudian lenses—at a time when female critics were virtually nonexistent. O’Keeffe rejected these readings. She knew what she was doing. Still, she was savvy enough to understand the power of interpretation, even if she didn’t agree with it.

I know a few male artists who paint flowers with equal reverence. Are they thinking about anatomy? Maybe. Maybe not. But the need to explain beauty—especially feminine beauty—has always said more about the viewer than the artist.

A few years ago, I visited Ghost Ranch, O’Keeffe’s sanctuary in Abiquiú, New Mexico—about an hour north of Santa Fe. What struck me most were the colors. This wasn’t the pale beige I had come to associate with deserts. The landscape was vibrant: red sandstone cliffs, deep green shrubs, and ochre earth. These colors defined her palette—intense and grounded, shaped by light and shadow. Her paintings aren’t about dimensional realism. They’re about essence. Stillness. Form. No people. Just space and vision.

She once said, “I found I could say things with color and shapes that I couldn’t say in any other way—things I had no words for.”

And maybe that’s what draws artists to the desert: not just for what it shows, but for what it allows us to say—without words.

May 2022