[4] Boaz Vaadia was born on a small farm in Gat Rimon, Israel, and credits his parents with instilling a tremendous love for the earth in him and a sense of connection to it that amounted to veneration.

Vaadia made a great personal discovery very shortly after his arrival in New York, when he accepted its urban environment as being as natural to humans as the rural setting he grew up in.

Vaadia recalls, "When I first worked with this material, I tried to force it into more continuous, conventional forms, and found that it always fractured in the wrong places.

Staying on to teach there and already familiar with welding steel, Vaadia built a foundry from scratch so that he could learn how to cast his works in bronze.

By 1973, he began exploring surrealist influences by creating dripping shapes in metal and stone in addition to using sheep hides, branches, and leather in his work.

Recognizing the physical truths revealed in the process of making this body of work, Vaadia moved toward deeper explorations of three-dimensional concepts and focused on his interest in structure, balance, and gravity.

For these body-based forms, his methodology entailed stacking gradated rock sheets in a formation suggestive of individual stones modified by chisel-marked surfaces.

[2] As a result, he has knowingly limited himself to stable, compact poses, and a generalized human form that alludes to Easter Island moai, Egyptian Pharonic sculpture, and Buddhist repose.

[14] Glenn Harper, editor of Sculpture Magazine, noted about these pieces, "The figures are indeed composed…within the groups, there is an emotional dynamic, but more of a bond than a conflict.

"[15] In 1987, Boaz opened his practice to include limited editions of the stone sculptures cast in bronze, augmenting his capacity to explore new compositions through the relationships between multiple figures.

When he saw ancient boulders being pulled out of the ground during sewer repairs near his Berry Street studio in 1989, he was determined to salvage them and subsequently incorporated them into his figural compositions.

[19] Vaadia's recent work on a series of bas-relief sculptures allowed him a new level of definition and feature detail because of the inherent architectural support of the incorporated wall.

In 2014, Keno Auctions reported that Vaadia: ...incorporates material from the New York City environment, slate, shingle, bluestone and boulders, to create figural sculptures with universal features.

[21] In 1977, through Lady Bird Johnson's America the Beautiful Fund, he was awarded an artistic residency in the Harriman section of Palisades Interstate Park NY, where he created a work that was placed on the Appalachian trail.

His first major solo show of works produced in New York – ritualistic in nature and inspired by African fetishes, altars, and ancient tools – took place in 1976 at Hundred Acres Gallery, owned by Karp.

"[23] Vaadia is represented by Jim Kempner Fine Art in New York, NY; Connaught Brown in London, England, and Baker Sponder Gallery in Miami/Boca Raton.