Piece Description, Tina Marcus, “The Records of the Tabernacle and Faces of Time:”

My works are called soul-selfies, documenting historical and spiritual experiences that affect the human spirit and soul. The assemblage, The Records of the Tabernacle and Faces of Time was inspired through deep introspection in studying the Parashat Pekudei, with Rabbi Eryn London. Pekudei, the last chapter in Exodus, describes explicitly the architecture and its space, materials, money, tasks assigned by Moses and the work by the Levites—all that was necessary to build a Tabernacle and a home for G-d. Moses was given instructions to build a Mishkan; however, Moses knew he could not do this alone.

Faces of Time honors those souls who built the Tabernacle and takes a deeper dive into what it means to be a Tabernacle. This work calls in question, do we need an architectural structure to go to, or, for us to look inward into our bodies as that architectural space that fulfills G-d’s will and make this world a home— being that Mishkan wherever we go.

Discussion Questions:
1. The section that inspired this piece exhausts in detail descriptions replete with color and extravagance. Tina Marcus, however, subverts the expectation of vibrancy with an earthy and muted color composition. What do you think motivated this decision? What associations does this bring out in you?

2. Tina Marcus describes having sculpted many more busts before arriving at the ones she chose. What qualities do you think she was looking for? She also shares the experience of seeing completely different sculptures depending on the angle that the picture was taken and based on how the light bounced off of the figures. How does the multiplicity of images relate to the text of the torah portion behind it?

3. Tina Marcus coined the phrase “Soul-Selfies” to describe the characters she depicts. What differences do you see between the different figures? How does the lack of uniformity address the construction of the Mishkan? Why do you think the different figures are placed at different heights?

4. If “Faces” are so central to this piece as alluded to in the title, “Faces of Time”, why are the features of the five central figures obscured? They are depicted minimalistically nearly to the point of anonymity. Can you identify with one of the figures in particular? What is their story and how did they get here?

Rabbi’s Sermon, Rabbi Eryn London “Building the Mishkan – A Time to Come Together”:
As we reach the end of the book of Shmot (Exodus) we hear the details of the building of the Mishkan. The House of Meeting that will continue to travel with the Children of Israel throughout their time in the desert through to the time of building the Beit HaMikdash decades later.

The Torah goes into intricate details of what was used to construct this space. Of the amount of money spent. Of the colors. Of the materials. Of what the space would look, sound and smell. .The space that would be in the centre for all to see, hear, smell and experience.

It is a Parsha of a full sensory art installation.

But not just a piece of art, but art that is the heart of the community. A place that will be the living and breathing space, where everything happens. Where the sacrifices are made. Where God is felt and is resting. Where one goes for holidays, for times of joy and times of pain.

As we read in last week’s Parsha, it is a place that was built by everyone. People gave what they were able to give - be that thread or gems. People helped in whatever ways that they were able - be that weaving, donating, or heaving lifting.

This was the centre of the Children of Israel in their time in the desert.

It was not only for them - but it was where God rested. God entered and filled the entire space.

Exodus 40:35

וַיְכַ֥ס הֶעָנָ֖ן אֶת־אֹ֣הֶל מוֹעֵ֑ד וּכְב֣וֹד ה מָלֵ֖א אֶת־הַמִּשְׁכָּֽן׃

The cloud covered the Tent of Meeting, and the Presence of the LORD filled the Tabernacle.

It was how the Children of Israel knew they were going to be travelling. It was how the Children of Israel knew that God dwelt amongst them. Seeing the cloud or the fire, knowing that God was there, in a very tangible way.

What would it mean today to know and ‘see’ God in a tangible way?

How can we create our holy community spaces into interactive art? Full of sound, smell, sight. How can we spread that feeling, even when we are unable to be in a building together? Or that there are and always have been people in our community that will be unable to attend in person?

The shul (synagogue) is known as a Mikdash Me’at, meaning, a small tabernacle. So what can we do, to really make our spaces into a small tabernacle? A place where people are able to feel God? A place where they are able to see one another’s handy work? A place where all are able to contribute based on their abilities (which means that all are able to contribute something)? A place that can be described in such detail, that even when one is unable to be physically present, one can imagine being there and feel like they too are part?

I am also struck by the end of the Parsha (Exodus 40:38)

כי֩ ענ֨ן ה' עֽל ־המשכן֙ יומ֔ם וא֕ש תהי֥ה ל֖ילה ב֑ו לעינ֥י כל ־בֽית ־ישרא֖ל בכל ־מסעיהֽם

For over the Tabernacle a cloud of the LORD rested by day, and fire would appear in it, in the view of all the house of Israel throughout their journeys.

We start the book of Shmot with the Children of Israel as slaves in Egypt, scared that God has forgotten them. That God has left them to all die a horrible death, as individuals and as a nation.

And we end with God being there - always, either by a cloud or by fire.

How important it is to show to others who have felt abandoned, that they are not anymore. That there is someone out there looking out for them, paying attention to them, being present with a light on - waiting for them, even if/when they are not able to enter.