Miriam Bloom creates asymmetric biomorphic objects situated at the boundary between representation and abstraction. The fluid mixed media sculptures evoke familiar matricial shapes, aggregated by using an algorithm which needs to be deciphered. The sculptures begin as small sketches and clay maquettes and then find their new life as papier-mâché, terracotta, or plaster forms which welcome tactile interaction.
Conceptually, one influence is the Japanese concept of wabi-sabi, a sense of fleeting beauty in irregularity and asymmetry, which brings the sculptures to life. Also determining is a personal concept of Beauty seen as the suspension of pre-conceptions and cultural prejudice, and the idea of equilibrium seen as a fleeting moment in a perpetual evolution. The witty, often metaphorical titles are condensed narratives which provide clues.
Bloom’s influences include visual art, history and philosophy. Constantin Brancusi and his synthetic portraits, Jean Arp, Louise Bourgeois are alluded to in the same time as Gaston Bachelard, Buddhism, Hinduism, Native American history, and prehistoric culture. The unique fusion of the rich cultural streams with a contemporary sensibility creates a language whose appearance of simplicity can be deceiving.
Miriam Bloom is an artist who holds her BA from Brandeis University and her MFA from University of Iowa. Her work has been exhibited internationally, including in Hiroshima, Japan, Malmo, Sweden, Lippstadt, Germany, Istanbul and more. She has been the recipient of numerous grants including the Gottlieb Foundation grant, Athena Foundation, National Endowment for the Arts, The Marie Walsh Sharpe Art Foundation, and the Pollock-Krasner Foundation grant. Museum and private collections include Bass Museum, Miami, DePaul Art Museum, Chicago, Louise Nevelson estate and others.
"On a formal level, Bloom uses asymmetry to activate her forms. She has been interested in irregularity since the early 1970s when she constructed "environments" simulating Japanese rock gardens. The installations offered a sense of nature and reference to human use. Desiring to capture the quality of the installations into a single object, she created asymmetrical bowls. The vessels reflect her admiration of Native American blankets whose patterns include a deliberate discrepancy and Anasazi pots with slightly shattered bases. In these works, gaps--holes in vessels or inconsistencies in design--are intended by their creators to offer room for the spirit. By using paper, Bloom also created objects without a utilitarian use-reflecting her wish for the objects to be useful only as sources of inspiration and contemplation."
- Eileen Tabios, St. Helena, California 2000