Rembrandt painted this encounter between Abraham and the three divine visitors several times — drawn, like all great artists, to the ambiguity at the heart of the story. Are these men, or angels, or something beyond either? Amnon Moalem’s version works in three dimensions, in carved wood and cast-epoxy with selective gold cladding, at a scale of nearly two meters square. The gold leaf traces the points of divine contact in the composition — illuminating what the text does not fully reveal.
In the carved wooden works, the initial preparation may involve CNC technology to establish the primary structure and composition. Amnon then continues through extensive manual carving, refinement, and surface work. The balance between technological preparation and handwork varies according to the scale, subject, and requirements of each piece.
Epoxy resin is used in selected works as an independent material or in combination with carved wood. Its role differs from one piece to another and may include structural, visual, translucent, or surface-related functions.
The gilding stage is the final and most demanding phase. Metallic leaves, 24 Karat gold, silver, and copper, are applied by hand, sheet by sheet, to the finished surface. The technique is ancient, used for centuries to adorn relics, altarpieces, and sacred objects. In Amnon's work it serves the same purpose: to signal that what you are looking at is not ordinary.
Most works begin with a close study of a well-known artwork or engraving. Amnon develops a personal interpretation through material, technique, scale, composition, and surface treatment.
The composition, scale, and proportions are prepared for production. In carved wooden works, this stage may include CNC-assisted preparation before the manual carving process begins.
Following the initial preparation, Amnon performs extensive manual carving and refinement, developing the surfaces, forms, and details of the work.
In works that include cast-epoxy, the cast elements are produced and integrated according to the specific material and compositional requirements of the piece.
The combined structure is prepared for gilding: smoothed, sealed, and given a base that will hold the metallic leaves.
Gold, silver, and copper leaves are applied by hand, one sheet at a time. A large-scale work can require weeks of gilding alone.
Each completed work is photographed professionally, measured precisely, and documented for the collector’s record.
Moses
Isaac Blessing Jacob
David and Goliath
The Spies
Lay Not Thine Hand Upon the Lad
