Interview with Aliza Thomas — Contemporary Art Curator Magazine

The power of art, a medium of love that confers dignity upon existence!
Is it “Magic” that can burn gravity away?
Is it “Magic” that awakens emotions?
And shows new shapes, sounds, and colors
In the multi-dimensionality!

Only those who attempt the absurd will achieve the impossible.
M C Escher!

Aliza, your artistic practices are deeply intertwined with your cultural heritage and teaching in Taijiquan and Qigong. How do these elements influence your approach to papermaking, and how do you see them manifesting in your finished works?

My artistic practices and visions have been with me since childhood. When I was ten, I decided I wanted to be an artist. It’s funny: I saw a woman in green stockings and a quirky skirt. She was a friend’s mother and left a lasting impression on me. She was free to be herself, and no one judged her. This struck me and led me to conclude that being an artist would be my ideal profession. It would give me freedom in the world.

It allowed me to express my feelings and helped me understand the reasons behind the world. After World War II, peace and respect became my core values. My childhood yearning for peace led me to many international connections (by mail) and countries, which expanded my perspective on various cultures and behaviors and shaped my appreciation of art.

Taijiquan and Qigong became significant during an illness I experienced. At that time, it was illegal for me to receive treatment in a hospital or from doctors. This limitation led me to Taijiquan and Qigong, whose continual practice helped facilitate my healing.

This knowledge is essential and made me choose to practice it and, later, teach it in institutions like “Drug Rehab” or to people with a variety of physical problems. Knowledge like this helped me create a better income. (I have three children) And health

It was interesting to see how Taijiquan practice influenced my artwork. This knowledge opened up a new world. Before this, I taught art in art centers, jails, and schools. The additional skills I gained from Taiji and Qigong expanded my possibilities.

It gave me extra insight and health.

You’ve highlighted the importance of discussing the survival of “real” art in the age of AI. Could you elaborate on what you consider real art and how you position your work within the rapidly evolving digital landscape?

The works of artists like Rembrandt and Picasso are true art that makes a difference. I understand there is much more than just the few I mention here, or one might refer to it as 'human art.”

As art continues to renew itself in today's world, creativity, technique, and vision will evolve across various artistic forms. People’s dreams are changing, technical and cultural influences are shifting, life is transforming, and art is adapting in numerous ways, both through AI and within human and natural contexts.

AI is still in its infancy, shaped by various cultures, languages, and technical aspects. How will the creative side evolve alongside AI techniques? To me, that’s still an open question. Will other cultural shifts affect it? Or will it merely reflect history? The vast influence of diverse cultures, languages, and writing styles is monumental. Is it a return to the Tower of Babel? We still have a long journey, filled with surprises, ups and downs, and unexpected twists. Dreams and questions abound! In which dimension will we reside, and how will we adapt to different realities? Imagine living in the fourth or fifth dimension. Give it a try! It’s fascinating, yet also complex. Now, we find ourselves in a transformative year—the year of the snake! Embrace the new shapes!

While writing about AI in art and other rapidly evolving subjects, techniques, and more, I observe our swiftly changing way of life, thinking, and perception of the world today and in the future!

You emphasize the renewal of tradition in your work. Could you share how traditional methods of Asian papermaking intersect with your creative process and how you innovate within these practices?

Traditional Japanese papermaking techniques are beautiful; some call them improvements on Chinese inventions. I studied and practiced the characteristics of the different fibers. Regarding the influence of water temperature and water quality in the mountains, for example, I should mention that until 1985, Israelis were officially prohibited from going to China. Hence, Japan was the next best option for studying papermaking. Papermaking started in China and moved to Korea and Japan.

South Korea is a fantastic place to study and research papermaking. I visited and taught at the University of Jeonju and regularly participated in the paper fashion shows organized by the university. I even took my granddaughter there to showcase her paper dress in one of the paper fashion shows for her Bat Mitzvah, which reflects my strong relationship with the university.

I learned traditional Eastern and Western papermaking techniques, pulp painting, collage, and printmaking. While having technical and historical knowledge is valuable, possessing it doesn’t mean you have to apply it. I prefer to explore various old, new, or alternative methods to achieve my desired outcome. Understanding traditional techniques provides a solid foundation for experimentation and creating works that inspire me. For example, I researched the history of papermaking in the Islamic Empire, which enriched my technical and artistic skills. I embarked on this journey while teaching papermaking in East Jerusalem. Although this research took many years, it was exhilarating to pursue. I discovered diverse cultures, from Khanbaliq (Beijing) to Egypt, North Africa, and Timbuktu!

A valuable addition to papermaking history is the Middle East's local fibers. One exciting fiber is the Mitnaan fiber, known for its long bark fibers and insect-repellent properties. These attributes make it suitable for tying animals and papermaking, as insects tend to avoid it. I wrote a miniature book about these fibers; the paper was written on Mitnaan and published by Asao Shimura.

This The project involved carrying water to the desert to collect enough fiber to create high-quality paper.

As someone who practices and teaches Taijiquan and Qigong, how do these disciplines inform how you engage with your artistic materials and processes?

The similarity is the need to practice Taiji Quan and Qigong for self-development and health. Both martial arts and visual arts need a lot of practice and development. Self-development is an essential part of human beings. We are creatures who are born helpless,

Like the changes and development of nature, of which we are part, even if it doesn’t always look like it, \ Animals practice by nature. Taijiquan is based on nature and the characteristics of the animals. People today should exercise and practice it for self–healing and a healthy life.

In your experience, how does the dual heritage from Israel and The Netherlands influence your perception and expression in art? Are specific elements from each culture resonating more firmly in your work?

Because of the current situation, I am careful with this question

I have been in the Netherlands for several years because my strong commitment to peace and equality among people sometimes leads to problems, which is why I am here now.

Subconsciously, experiences like these and childhood conflicts continue to shape our lives. I’ve witnessed older adults come to terms with how they endured wars, carrying traces of those experiences, which is fascinating. However, it also presents challenges that this generation will need to confront.

In the past, I used art to help people solve their problems. After gaining more knowledge, I began using Taiji and Qigong alongside art.

The idea of shamanic art implies a profound connection to spirituality and nature. How do you integrate these elements into your papermaking, and what significance do they hold in the larger context of your art?

“Everything has a secret soul that is silent more often than it speaks!”

Shamanic art is a form of artistic expression, and shamanism continues to thrive today in healing and creativity. People use it to create art based on specific guidelines that vary according to their location or upbringing. I lectured on shamanism at universities in the Netherlands and Turkey by invitation, and each experience was distinctly different. Through these practices, I crafted objects to ward off the “evil eye"—doll figures made from found materials or paper, which also provided a source of income. Many people purchased them, valuing their worth.

Lately, I have seen a new interest in these objects and dolls. Or talking sticks
I don’t like the title "Shaman"; it feels significant. I’m too modest… I’ve learned, studied, and observed shamans in action, such as
I received the title or initiation from an elder North American Indian. I thanked him but thought, “I want to be an artist.” As time passed, I started to see things differently and appreciated the wisdom I had gained.

This knowledge gave me insight and enabled me to tackle issues and stories about nature and children in various situations.

They have always been a part of me and, in a sense, influence my art, not just my papermaking.
Papermaking is a technique, a craft, and a tool from which art is made. The raw material comes from nature.

I don’t differentiate among the various types of knowledge I’ve acquired. I’ve researched them throughout my life. Knowing how things were supposed to be or could be, my curiosity propelled me forward.
Traveling to different corners of the world.

We live in a rapidly changing time; we must learn or are learning to look at civilizations differently—our earth, nurture, and all the different people with their knowledge.

Today, I read an article about the inventor of AI. The inventor expresses regret for his creation and for the impact it has had and will continue to have.

Was it indeed a 2600? Years of a dream, and are we now waking up?
Eyes closed, ears open? Who will tell?

You mention exploring new ways of working and looking. Could you describe a work, a project, or a piece?

I mentioned exploring new ways of working in both my art and teaching. To me, that signifies development and growth. I experiment with various techniques in my art, considering different perspectives in both the artistic process and during exercises. I conduct training sessions for students facing a range of challenges.

My new experiment focuses on sound and smell. I have been asked to instruct blind individuals in Taijiquan and Qigong.

That needs inventive work.!

You’ve preferred poetry over books as a source of inspiration. Could you discuss a poem that has profoundly influenced a specific artwork?

There were times when I would write poems for every piece of artwork I created and exhibit them together, but people didn’t appreciate that. Poems provide different insights, visions, and backgrounds. I researched the history of papermaking in the Islamic Empire, using many historical poems from various countries. This was to gather both information and beauty.

To gain a deeper understanding, poetry has much to offer.
Poetry in different languages creates a unique atmosphere when written in original forms, rather than in translations. Explanations in verse describe it.

I like French, Arabic, and English poems and am now writing them in English for a papermaking journal. I use Chinese poems {translated) They inspire, they sing, and offer a different freedom

I usually create the artwork and then write a poem about the subject. Occasionally, I write a poem and subsequently create the artwork. I am including a poem by Kandinsky, the painter I admired as a child:

Lend your ears to music
Awaken your awareness to painting
Stop thinking!
Just ask yourself
Whether the work has enabled you to walk about
Into a hitherto unknown world
If the answer is yes
What more do you want?
Kandinsky

Some other classic poets I admire and find inspiring include Lao Zhe, Lieh Zhi, and Su Shi. I love the way they use language to express their emotions. Poems like these make me feel as though we are completing a circle of time.

Another poem by Lie Zhi, I appreciate:

“It was then that the eye was like the ear,
the ear like the nose,
and the nose like the mouth;
they were all the same,
The mind was in rapture
The form dissolved,
The bones and the flesh thawed away,
And I did not know how the frame supported itself
or what the feet were treading upon.
I gave myself away to the wind.”

I used this poem as an “illustration” in an artist’s book I made about mental illness.

Making artist books was practical for several years, especially when many feet were on my floor; they were a way to earn money.

Children and grandchildren, I work on the floor and encourage others to do the same.

Considering your role as a teacher, how do you integrate your artistic philosophies into your teaching of Taijiquan and Qigong and vice versa? Do you find that teaching these disciplines enhances your creativity?

Everything I do fuels my creativity. It’s all about our perception of life. I raised three children and later helped raise my daughter’s twins. I never stopped making art; inspiration surrounds us. I have never experienced a “general situation” like those described in books; I’ve always had clear ideas about how to live and what I wanted to achieve from a young age. I needed to be creative to accomplish everything I desired.

I view most things as an exercise: “practice makes perfect!”

Looking towards the future, how do you hope to influence traditional art and contemporary society through your practice and spiritual teachings?

Today, like yesterday, I see the future as something entirely new and different. This will influence my art and my Qigong teaching or Taiji teaching.

We are entering a new era characterized by changes in energy and nature.
For example, we will cultivate different ways of thinking, feeling, perceiving, understanding, and viewing our situation on Earth. As a result, we will interpret things differently and, consequently, behave differently.

To conclude this interview, I present a poem by Maria Popova:

May the tide
Never tire of its tender toil
How over and over
It forgives the Moon
The daily exile
and returns to turn
Mountains into sand
As if to say
You, too, can have
this homecoming
You too possess
This elemental power
of turning
the stone in the heart
into golden dust.

Aliza Thomas
Artist /papermaker
Taji Quan / Qigong