One Thousand and One Days

By Zigi Ben-Haim

One Thousand and One Days spins the story of Scheherazade into a contemporary pictorial narrative, highlighting the

fragile and unstable conditions in which we live and breathe. Alluding directly, and indirectly, to the challenges we

face--climate change, pollution, dust storms, various medical emergencies and hurricanes – Zigi Ben-Haim counters

these perils with an array of images offering hope and healing.

The project was started in 2009 and completed in 2013. It contains unique cartoon-like drawings from life and nature

that emphasize the precariousness of our existence. The combination of images is inspired by Ben-Haim's childhood

A recollection of the folk tale, "One Thousand and One Nights." Just as Scheherazade saved herself using the

enchantment of words, Ben-Haim's reinterpretation proposes that images may have just as profound an effect. Both

the folk tale and images are exaggerated and disproportionate to reality, creating a provocative metaphor of survival.

One Thousand and One Days consists of three parts; 1001 drawings on medical masks, four paintings with mixed

media on aluminum (48” x 96”), and 98 paintings on board (10” x 8”). * The use of the colors black, white and

turquoise carry forward Ben-Haim's personal story. The images he creates are drawn from his own rich vocabulary,

and yet embrace universal themes, celebrating the diversity of cultures amongst us. Each part raises questions of

social, cultural, and economic progress, and calls attention to our survival in the face of disease, climate change and

global warming. The drawings on 1,001 basic white dust painter's masks serve as medical symbols, like talismans

protecting us from the self-induced costs of progress. The paintings on aluminum represent urban-industrial life,

while the paintings on wood symbolize simplicity.

* The installation of this project may be accompanied by the music of "Scheherazade" by Nikolai Rimsky-Korsakov.

Treasure the Green

By Zigi Ben-Haim

With SoHo’s sidewalks filled with visitors and lacking green space, there is a need for green oxygen in the neighborhood. Today, with the growing urgency of addressing the speed of climate change, it is important to remember the human necessity of reconnecting with the pure nature of green. 

Presented by the New York City Department of Transportation’s Art Program in partnership with the SoHo Broadway Initiative. 

Special thanks to Karissa Lidstrand, SoHo Broadway Initiative; James Cavello, Westwood Gallery; James Knight, Artist Assistant and Sebastian Grant, Administrative Assistant. 

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By Zigi Ben-Haim


PoeTree is a series of individually commissioned sculptures that I intend to ‘plant’ in various locations around the globe. PoeTrees are ‘trees’ of inspiration and hope.


Each PoeTree is fabricated in painted aluminum shaped as a tree, attached to a stone bench with metal stationary wheels. Four PoeTrees are already in place; two in Valbonne, France on a private estate, the third at the Heart Center of Sheba Medical Center in Israel, and the fourth in the Neeman Gardens in Tel-Aviv, Israel. A poem is carved into each bench. It is my hope that PoeTrees will inspire those who view them or use them to contemplate the ever-evolving relationship between man and nature. Each installed in its own unique environment, these trees take root in the changing culture and nature of their surroundings.


In nature a tree is native to its location and stands as witness, silently bearing memories of the past it has lived through, while at the same time, rooted in the present. PoeTrees hover between the traces of nature, culture, and humanity, as the ‘tree’ digs through layers of a given place in quest of deeper roots. The bench with wheels represents the constant seeking of humans to carry on and advance, detached from any single space.  However, the poem is engraved in the stone bench and the words are inspired by the local culture. 


The medium, fabricated aluminum, serves as an obvious symbol for the urban environment, and contrasts with the shape of the tree itself, symbolizing nature. The bench, man-made from natural stone, becomes the antithesis of the tree. The essence of my work lies in balancing the tension of opposites, and simultaneously highlighting the contrasts that have become second nature for the viewers or anyone living in our urban environment. This work speaks to my belief that man-made environments and nature must adopt each other in order to survive.


In each country where the PoeTree is invited to take root, the owner or the commissioner of the sculpture will choose the poem, decide on the color of the upper part of the ‘tree,’ as well as the type of stone from which the bench will be created, giving the owner an opportunity to take part in the creative process. In most cases, the stone will be native to the country where it is planted.


As the installation of these trees multiplies, I hope to create a visual conversation and a spiritual communion between nature, humanity and the different cultures we have created around the world.



PoeTree – Brown  (left) and  PoeTree – Longfellow  (right)  Zigi Ben-Haim , 2011 18 x 138 x 108 inches | Aluminum, Stone, and Epoxy Paint Valbonne, France

PoeTree – Brown (left) and PoeTree – Longfellow (right)
Zigi Ben-Haim, 2011
18 x 138 x 108 inches | Aluminum, Stone, and Epoxy Paint
Valbonne, France

PoeTree – Misley   Zigi Ben-Haim , 2011 18 x 108 x 55 inches | Aluminun, Stone, and Epoxy Paint Sheba Medical Center, Israel

PoeTree – Misley
Zigi Ben-Haim, 2011
18 x 108 x 55 inches | Aluminun, Stone, and Epoxy Paint
Sheba Medical Center, Israel

PoeTree – President   Zigi Ben-Haim , 2011 18 x 108 x 55 inches | Aluminum, Stone, and Epoxy Paint Tel-Aviv, Israel

PoeTree – President
Zigi Ben-Haim, 2011
18 x 108 x 55 inches | Aluminum, Stone, and Epoxy Paint
Tel-Aviv, Israel

Sample Stone Bench

Sample Stone Bench