The Baptism of Jesus. Gustave Doré, 19th century.
The Baptism is the moment the Gospels mark as a beginning — the heavens opened, the Spirit descending, a voice from above. Gustave Doré’s engraving gives the scene its vertical drama, while Amnon’s two-and-a-half-meter-high wood carving preserves that upward pull. The 24-karat gold and metallic gold leaf are applied selectively, so that the light descending in the text is echoed here in material as well.
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.
The Last Supper
The Last Supper
Metallic Version
The Baptism of Jesus
Metallic Version
Jesus Falling Beneath the Cross
Jesus Falling Beneath the Cross
Metallic Version
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