Zvia Mayroze (1935–1974) was born on Kibbutz Mishmar Hasharon, Israel. As a young woman, she studied at the Arts and Crafts College in Tel Aviv and at the Central School of Art and Design in London, graduating with distinction.
Zvia taught at Seminar Hakibbutzim in Tel Aviv and in the US. In London, she worked with Michael Duane at the controversial Risinghill School (written about in Leila Berg’s book, “Risinghill: Death of a Comprehensive School”).
Zvia had sculptures in private and public collections in Israel, the US, and London. Her work included a large lighting installation for ICI displayed in an industrial design exhibition in London (Zvia was the only woman participating); busts of Matilda and Terence Kennedy for West London Hospital; a 5-ton acrylic sculpture installed in Kenwood Park, London, and then moved to Sussex University (commissioned by Sir Basil Spence and donated by Mrs. Miriam Sacher). Zvia also created numerous drawings and prints, lighting designs for private homes and a range of plastic jewelry for mass production.
Zvia began her association with industry in 1965 when she was searching for a transparent material that was strong enough structurally to produce massive sculptural blocks. While working with specialists in ICI’s plastics division, she came across a group of acrylic syrups known as “Tensol Cement” and recognized their potential for creating large multi-colored, textured blocks.
To cast directly from “Tensol Cement” in the commercially available form was not practical, nor would it have achieved the desired results. However, a solution was found through a laminating technique using modified cement to bond layers of Perspex and the sheets acted as structural reinforcement while not impairing the transparency. After considerable experimentation, this indeed was the basis of the technique eventually adopted.
One major challenge was giving the outer layers of the cement adequate weathering properties and a cross-linking agent was incorporated; but because the castings had to be made in layers, since the thickness of cement that can be polymerized at one time is limited, there was a possibility that the cross-linking agent might prevent the proper bonding of adjacent layers. Eventually, all problems were overcome and suitable materials and methods were devised.
In the spring of 1968, Zvia worked with Osram-GEC to produce self-selecting light environment controllers. The aim was to make it possible to select a programmed light environment according to one’s mood. She also collaborated with theater lighting projects, focusing on sculptural installations, which involved shaped light.
To create a 5-ton acrylic sculpture, Michael Duane, headmaster of Risinghill School, offered Zvia use of a space on the school’s premises. Zvia enlisted the help of senior boys from the school, some of whom were on probation. As a result of that experience, she formed a close friendship with Michael Duane and the students who worked with her.
Zvia constantly attempted to define her artistic drive: “I have a general feeling that my work contains the elements of power, pure aesthetics, and an awareness of environment. We live in a state of constant flux and the work I do and the materials I choose to use reflect this. Jews living today are a refined residue of the millions of their co-religionists who were persecuted, converted or murdered in the past. As one of them, I feel that this heritage sharpens the intensity with which I experience things. Being born and brought up on a kibbutz reinforces this feeling, and gives it a socio-messianic direction. Although personally inclined to doubt, as a mother I am compelled to make artistically optimistic statements just in case tomorrow really comes”.
Text based on the brochure for the exhibition Manufactured Art in May 1970.
