I was born in California (USA) in 1989 and immigrated to Israel as a young child. I live and work in Tel Aviv (Israel).
I see myself as a memory researcher who comes to life as a visual artist.
My work aims to take the viewer through a personal memory quest, raising questions regarding the differences between memories and how they translate into perceiving our reality, and how this forms out consciousness.
For the past few years I have been conducting an autodidactic research of paper-cutting technique focusing on 2-dimensional pieces in black and white, as well as on site-specific installations, which often include ready made objects and a combination of the ready-mades and my paper cut works.
I explore the fickle nature of memory through natural disasters, which erase an entire physical reality, leaving only memories that gradually blur and dissolve to make room for a newly evolving reality. The disaster, however, is not the subject of my work, but only the frame story whereby I observe the resulting void, the locus whose absence we feel and strive to fill - the place, which we miss. I arrived at the all- so-sensitive and volatile subject of natural disasters because there is something about such an extreme event that leads to a concise process of memory construction.
Unlike other art techniques where you usually add material like in drawing, painting and sculpture, in paper cutting it is a process of subtraction. The void, the missing, creates the image and the memories. The moment I cut out a piece of paper there is no going back, just like in the daily life - moments pass and we can never change it or really "glue" it back, there will always be scars.
My works are characterized by an aesthetic dissonance that initially begin with a stage of contemplation that produces a momentary illusion of peacefulness. When examined closer, my pieces depict a continuing disclosure that focuses on content tangled with the concept of changing time, and thus, the ephemeral nature of memory which is inherent to the passage of time.
The transition from two-dimensional work to installation derived from my desire to deviate from the single narrative. I really think of the reality, the environment, the space and the feeling I want to create for the viewer.
Site-specific installations allow references to the space, need to relate to the limitations of it and make them an anchor in the work. Moreover, the work in space leaves physical, three- dimensional room for the void, too.
In the past two years, ready-made objects are also a big part in my work. I think that objects contain memories in the most authentic way, like capsules of time, so obviously that I feel I can not, not involve them in my work, while talking about memories.
I believe we must always leave room for that which is absent, that which is missing, and accept it because this is what allows movement and change.