Review of "Reflections on a Lake" at the Islip Art Museum, East Islip, NY
New York Times Review
In Islip, Experimentation and Installation, August 29, 1999
by Helen A. Harrison
Mirrors for viewing "Reflections on a Lake," by Devorah Sperber
Illusions of space and scale are exploited with uncanny impact in Devorah Sperber's "Reflections on a Lake." The image is composed of thousands of spools of thread that when seen at close range look like a random arrangement of colored cylinders. Viewed from a distance, the colors coalesce to form a picture, as in a mosaic or pointillist painting, but in this space the viewer cannot back up far enough to see it. Instead, one must look into small convex mirrors mounted on the opposite wall, where a vividly realised shoreline landscape appears. This amazing optical illusion raises issues of perception that deserve extended scrutiny-- yet another aspect of reflection that the work addresses. -Helen A. Harrison 8-29-99

Review of "Virtual Environment 1" at Snug Harbor Cultural Center, NYC
Review Magazine
"ELEMENTS 2000" March 1, 2000
by Joel Silverstein
The starting pistol is sounded by Devorah Sperber's own VIRTUAL ENVIRONMENT 1, 1999. Composed of thousands of spools of silk thread that glisten like the choicest of oil paint, ENVIRONMENT 1 is installed in a niche that surrounds the viewer. An image of a rock wall coalesces, constantly shifting from concrete spools of thread, to color pixels within a larger format. Similar to Hans Holbein's THE FRENCH AMBASSADORS, 1533, where two courtiers stand between an abstract shape that snaps into an image of a skull, Sperber here plays with ideas of visual representation. She's dealing with how the eyes prioritize and define within the materiality of the abstract container. The installation has the weight of an Italian Fresco sycle. There are even bumper mirros to perceive the entire gestalt. They are not needed as it's an energetic environment without them. -Joel Silverstein, 3-1-2000

Review of "Humanity-- A Living Installation" Interactive Project
at the Ernest Rubenstein Gallery, NYC
Sculpture Magazine
"New York State- Participatory Works: Viewers as Co-Curators"
January/ February 2000 by Jane Ingram Allen

...Another alternative space in New York, the Ernest Rubenstein Gallery at the Educational Alliance provides classes and instruction in many art forms, and its gallery program reflects this educational focus. Humanity-- A Living Installation, an exhibition by artist Devorah Sperber (May7- June 10, 1998) enlisted children and families to help create the artwork. The work deals with issues of individuality and cultural diversity and is made u of hundreds of similar but unique cast forms suggesting human faces.

Participants of all ages were invited to paint one of the cast forms and create their own unique contribution to this "visual celebration of individuality and diversity." Sperber's installation was unique in the extent of public involvement it allowed; here, viewers, even children, became collaborators in the making of the exhibited work. Sperber says, "I think the artist must be able to 'let go' of all preconceived notions of what should happen, how it should happen and what it should look like. Only after the artist has achieved this state of 'egolessness,' does authentic collaboration with non-artists and/or children become possible.

Review of "Virtual Environment 1" at S.E.C.C.A. , Southeastern Center for Contemporary Art, Winston-Salem, NC. Oct. 20, 2000 -Jan. 15, 2001
News & Record
"SECCA's "minutiae" more craft than art
November 16, 2000 by Jacqueline Humphrey

Entirely worth the trip to SECCA, however, is Devorah Sperber's "Virtual Environment 1," an 8-by-28-foot wall construction featuring 20,000 spools of Coats and Clark thread in a subtle range of pastel hues. Talk about a difficult medium! Like the dabs of paint in an impressionist painting when viewed too closely, this piece makes little sense up close, other than as a display of an awful lot of spools. Back a way and squint a little and the dabs of beige, gray, peach, blue and lavender reveal a large and quite beautiful "painting" of stones in a mountain stream. Sperber's vision is remarkable. It brings to mind a monumental worm's-eye view by photographer Ansel Adams of a rock-filled mountain stream. Sperber's subtle construcion has all the necessary artistic conventions: originality, skilled delineation, control of the medium, a unified, pleasing palette. All that's missing is a message (unless you are one who finds sermons in stones), and that omission, in this case, is sort of welcome!

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