Selected Recent Reviews
Preview of "Midrash, Stories Reclaimed"
—Diane Jalfon, Public Relations
and Public Events Manager, Brooks Museum
Carol’s work evokes a sense of humanity. It depicts
elements that make up an individual - family, tradition, and
memory - yet juxtaposes these elements with a strong feeling
of personal identity. She brings these bits and pieces together
on canvas as in life: daughter, artist, teacher, woman. She
combines imagery from her past with a contemporary palette
and an original aesthetic, revealing layers of meaning. These
works transcend time and place, representing more the journey
than the destination.
We sense that the creating of these images is a way of reconciling
her past with her present. They are imbued with a reverence
toward the past, yet full of spirit for a meaningful new intergration
into the present and future.
Preview of "Midrash,
—Hannah Griff, Folklorist Ph.D.
Deputy Director of Public Programs at the Eldridge Street Project,
What is the female experience of Judaism
in the 21st century? Usually, debates are limited to interpretations
of biblical stories and literary commentary but looking at
work as a whole invites one to contemplate the feminine aspects
of Judaism and how these ancient rituals embody meaning today.
Buchman’s aesthetic style incorporates collage, the use
of the figure and important totems of her personal journeys.
Her palate tends towards the softer hues with strong use of
color with subtle black and white graphics. This limited use
of black and white allows for softness and a middle ground for
what might be for some, provocative assertions.
one of her paintings, Havdalah for Herta, the female figure
stands in the center of the picture, and is surrounded by many
religious articles for Havdalah (a Saturday night service that
ends the Sabbath and ushers in the new week): a spice container
on the left, a lit braided candle in the middle and the Kiddush
cup to the right. The tones are so muted that the objects appear
and recede in the piece suggesting a sense of continuity between
past and present, and the use of the black and white photographs
recalls the immigrant ancestors as does the figure’s black
and white patterned dress.
The eternal light, found in every synagogue, dominates the upper
right corner as does the spirit like figure exiting through
the open door, (suggesting the Sabbath Queen’s departure) reinforcing the artist’s
faith. Flowers in the vase and on the wallpaper and the lace
tablecloth suggest the holiness of the Sabbath.
The ritualistic way in which layers are used in this artist’s
collage represents the layering of generations, traditions and