Alice Kiderman

about the artist
when stone speaks...
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Mountains, rocks, and stone have always fascinated me, since they are some of the few authentic relics we can touch and embrace, that are the “messengers” of the history of our planet. Similarly, craftsmanship in stone, a natural material which is an indispensable part of Earth, is something I’ve been passionate about preserving in this era of fast moving and fast created objects of Art. We don’t seem to have the time it takes. The process of creating art forms in stone is one of the most ancient ways of “preserving” history of our planet and the process hasn’t changed much. It is and has been ecologically responsible and environmentally safe - using what Earth offers us - stone with the help of some of the most ancient tools - hammer and chisels.

My work is about translating the human emotions into a three-dimensional visual sculpture. The focus is on the beauty and complexity of the humankind, rather than the ugliness and misery. The goal is to “touch” the viewer, to connect through sculpture with his/her inner feelings, memories and send him/her on own path of exploring one’s own emotions.

The works represent the feminine and the masculine, the yin and yang, the moon and the sun -which could produce either dichotomy or harmony. The deciphering is for the viewer to undertake...

“... The globular, pulsing, throbbing evocations of human emotion in sculpture by Alice Kiderman.”
— M.J. Albacete, Executive Director, Canton Museum of Art.

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about the artist

Russian-born sculptor, Alice Kiderman, explores the concepts of feminine and masculine, relationships and experiences, through the timeless material of stone. Her figurative-abstract sculptures run the gamut of human emotion - joy, pain, conflict, peace, devastation and rebirth. With chisel and hammer she translates human emotions into 3-dimensional sculpture which is serene an elegant.

Initially trained as a linguist and educator, she gradually changed her career path and followed her passion for sculpture and stone carving. She has been featured in “Canton Museum of Art offering Exhibits That Push Boundaries” (Akron Beacon Journal, Dorothy Shinn, art and architecture critic), “When Stone Speaks”( by Tom Wachunas ), Sun Courier, Art of the Day, The Jewish News, ART (Art Review Today) magazine, as well as in Art in America through her affiliation with Aaron Gallery in Washington, D.C. Her sculptures have been acquired by The Putnam Sculpture Collection and Vacuum Systems International, and numerous private collections throughout the country. Alice is a recipient of several awards in sculpture.

In 2011, Alice Kiderman was selected to participate in Florence Biennale, Florence, Italy and most recently had a successful exhibit Made in Stone: Human Journey Through Time at the Canton Art Museum in Canton, Ohio.

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Solo Exhibitions/Featured Artist:

  • Jasper Center for the Arts Exhibition, Jasper, Indiana (May 2013)
  • Katie Gingrass Gallery, Milwaukee, Wisconsin (2012)
  • Canton Art Museum Exhibition Made in Stone: Human Journey Through Time, Canton, Ohio ( 2012)
  • Christine Frechard Gallery, Pittsburgh, Pennsylvania
  • O Gallery, On the Wall, Off the Wall, Cleveland, Ohio ( 2011)
  • 1 Point 618 Gallery, Reflections of the Mind, Cleveland, Ohio (2009)
  • Malton Gallery, Pursuit of Happiness, Cincinnati, Ohio (2008)
  • Metropolitan Galleries, Dichotomy, Cleveland, Ohio (2007)
  • Aaron Gallery, Two-Person Show, Washington, DC (2006, 2007, 2008)
  • Opus Gallery, All Women—All Art, Cleveland, Ohio (2005, 2006)

Juried Exhibitions:

  • Archived Artists of Western Reserve, Seeing Green, Cleveland, Ohio (2011)
  • Cleveland Artists Foundation, Cleveland Creates, Lakewood, Ohio (2011)
  • Wasmer Gallery Spiritual Exhibit, Ursuline College, Pepper Pike, Ohio (2011)
  • (Selected) Butler Institute of American Art, Youngstown, Ohio (2009)
  • Valley Center for the Arts, Chagrin Falls, Ohio (2005*, 2006)
  • The Sculpture Center, Cleveland, Ohio (2005)

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  • “When Stone Speaks” Art Watch, Canton, Ohio (2012) Read
  • “Canton Museum of Art offering exhibits that push boundaries”, Akron Beacon Journal, (2012)
  • John and Mildred Putnam Sculpture Collection Catalog (2012)
  • “Sun Courier” (March 2008)
  • Arts Collinwood (web publication) (July 2007)
  • Cleveland Jewish News (July 2007)
  • Cleveland Business Connections (May 2007)
  • ART (Artist Review Today), Cleveland, Ohio (March 2006)
  • Art of the Day (2006)

when stone speaks...

By Tom Wachunas

“I don’t know of any good work of art that doesn’t have a mystery.”
— Henry Moore

By postmodern aesthetic standards (if in fact there is such a thing), the free-standing stone sculptures by Alice Kiderman might seem somewhat dated. At first blush, several of them are reminiscent of Henry Moore’s distended, ambiguous and lumpy abstractions of the human figure.

Yet while Kiderman’s forms do share Moore’s (and many other sculptors’) “less is more” ideology, they manage nonetheless to transcend such cosmetic similarities. Hers are quite simply more beautiful. They come from a softer, more subtly distilled and mysterious place, with a clearly soulful respect for the nature of her chosen material. Indeed, it’s as if the great skill and refinement of her craft has accessed the soul of the stone (marble, granite, alabaster, or steatite) as it were, and given it a voice - one which speaks not in brash or exaggerated tones, but in eloquent, intimate whispers.

Most of the works on pedestals share a biomorphic elegance, and their gently bulbous surfaces seem like a translucent skin through which we can see wispy veins and other shadowy variations of texture. The sensuous undulations of the forms sometimes suggest a fetal pushing or pulling from inside the stone. In that sense, these amorphous masses have a tentative quality, as if in an arrested moment of still becoming.

In contrast, Kiderman’s wall pieces display a relatively more staid, blunt simplicity. They bring to mind primitive ceremonial masks, or the ‘sympathetic magic’ that many ancient peoples believed they could generate with their ritual figurines and idols - giving faces and form to the ineffable forces of life.

Collectively, Kiderman’s works are indeed imbued with a quiet magic of sorts. Some conjure serenity and ecstasy. Others speak of darker, more vexing things. Stone will do that. It’s nature’s perfect reliquary of time itself, the countenance of history. And the very act of sculpting it can reasonably be seen as a metaphor for revealing and facing the history of ... us.

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