Russian-born sculptor and installation artist, Julia Nitsberg, calls herself artist/provocateur and believes that art is a social function. For the last decade she has created multi-media sculptural installations, exploring a variety of moral, ethical and socio-political issues. She researches the social codes and preoccupations, ranging from the role of mass media to a possibility of war and it’s anti-ecological nature. Following the example of her favorite art triangle: Marcel Duchamp, Andy Warhol and Joseph Beuys, she employs irony, speculation, criticism and romanticism. Industrial materials, mass production and their by-products play an important role in Julia Nitsberg’s work. The mutation of cold, impersonal matter and importance of human touch, which prevalent in the work of Calder, Smith and Hesse, remain constant subjects of her fascination.

Since 1990 the artist became interested in public projects and site-specific public sculpture. Provoked by environmental issues of the largest NYC Municipal Garbage Dump, “Fresh Kill”, she has proposed the construction of Memorial Arch and several other outdoor monuments. The installations: “Leaning Tower”,” The Ultimate Shopping”,” Room with a View”, addressed man’s careless attitude towards nature and the future. The interactive installations: “Tabula Rasa”, “Landscape in the Interior”, “Between wind and water”, invited public participation.

After the initial shock from the disaster of 9/11 she turned to history, philosophy and literature in search for explanations and solace. “Post Factum”,” Merry, merry, quite contrary…” the memorial project, “MONUMENT: Urbi et Orbi” and the latest multi-media installation “The Eighth Day” were her reflections on the September 11 attack on the World Trade Center and its aftermath.

In reaction to the escalating violence in the world, her focus has changed to nature and solitude. The installation “East of Eden”, outdoor performance “Add-Dressing” and the migrating mural “Silver Flight” are her reflections on natural surrounding and primordial memory.

Recently the artist has returned to her search for a new millennium symbol of unity - lingua franca. In a progressively borderless world she questions the possibility of coexistence for cultures with diverse beliefs and ethics. Internationally traveling installation “The Kotel” was conceived as a provocation, an intellectual quest for an alternative to Babylon: an emblem of violence, arrogance and fear.