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Naama Bergman, an independent goldsmith, graduated in 2008 from the Department of Jewelry and Fashion at the Bezalel Academy of Art and Design, Jerusalem. She was also an Exchange student in Otto Künzli’s class at the Akademie der Bildenden Künste München. Naama has won several awards and scholarships, among them the Eitan Ron Memorial Prize for excellence in jewelry design and a Scholarship for metal design from the America-Israel Cultural Foundation. She has worked in several jewelry studios and was until recently a senior teaching assistant for several different courses at Bezalel's Department of Jewelry and Fashion. Her work has been exhibited in different exhibitions in Israel and abroad. She currently lives and works in Amsterdam.
In my final project I try to establish my social-cultural identity by researching the Ashkenazi culture in Israel.
Although the Ashkenazi culture in Israel seems to be a social-cultural hegemony, it has actually relinquished the cultural characteristic that defined it in the past. I search for my connection, an Israeli woman today, and my forefather's Ashkenazi-Jewish cultural tradition, even though it is difficult to define.
In my familiar Ashkenazi home environment, scattered fragments of language, memories and places keep emerging and refuse to disappear. Although I was raised and grew up here, I also feel close to the crochet, crystals, manners and the dialogue that are associated with the Ashkenazi-European culture. The tension between "here" and "there" is constant. This jewelry collection ranges between the foreign and familiar, between concealed and revealed, between what was said and what can not be said, between appearance and the things themselves - all displayed in an inseparable blend.
In my final project I try to establish my social-cultural identity by researching the Ashkenazi culture in Israel.
Although the Ashkenazi culture in Israel seems to be a social-cultural hegemony, it has actually relinquished the cultural characteristic that defined it in the past. I search for my connection, an Israeli woman today, and my forefather's Ashkenazi-Jewish cultural tradition, even though it is difficult to define.
In my familiar Ashkenazi home environment, scattered fragments of language, memories and places keep emerging and refuse to disappear. Although I was raised and grew up here, I also feel close to the crochet, crystals, manners and the dialogue that are associated with the Ashkenazi-European culture. The tension between "here" and "there" is constant. This jewelry collection ranges between the foreign and familiar, between concealed and revealed, between what was said and what can not be said, between appearance and the things themselves - all displayed in an inseparable blend.
