My work is inspired by multiple cultural discourses - from Jewish mysticism and its dialogue with other religions to artistic references such as Persian miniatures, Russian Modernism and Israeli painting. Combined together, they suggest a politics of inclusion - bringing repressed qualities that are normally overlooked.
Through my art I combine broken or un-connected iconic forms that exist in my environment in a new way, understanding that these holes and gaps have a reason. The connections I create are not answers but the option of synthesis that embodies the humor in each one. These connections reveal the tension of contradicting powers that the work had hidden inside.
The works are colorful and seductive, but despite their naive and wild look, they are structured. They create disruptions and raise questions regarding identity and belief, trying to generate a complexity of identifications that can exist simultaneously.
Key motives I return to:
Monolith / tablet - a simple geometric shape taken from Mount Sinai, the Islamic Kaaba and Malevich. It appears as an object or structure which confronts a liquid, expressive and colorful material.
Hair - a savage and bestial element, the direct continuation of the brush I paint with, it stems from a reasonable place as the head but always exaggerated and becomes an entity unto
itself. It can transform into smoke coming from a candle or feathers growing on a mustache of a man.
Portrait - a starting point and a focal one. Portraits create my cultural community; Rabbis, Rebbetzins, painters, family and self-portraits. This community is built in a certain logic that is either zoomorphic or performs ambiguous gender.
Boundaries of the painting - many times I organize the drawing from the frame, like in a child's painting, through the painting of frames, decorative corners, gates and oval mirrors. This practice exists is an unplanned layer, that strives to restructure the chaos of the painting.
Current Focus
My recent paintings deal with different types of nets/crisscrosses, and the way they let me create and dismantle the image.
I'm interested in multi-layered painting that combine mobility between myth and reality. Through the grid I weave the tension between images deriving from different symbolic fields. In addition I created several sculptures that derive from this concept yet spread into a 3 dimensional object. The expansion to another medium interests and challenges me by itself and in comparison to the context of painting.
The sculptures are a series of objects inspired by religious paraphernalia shops, Judaica stores and exotic decorative objects, put together in a new surrealistic context. These objects do not carry nostalgia or satire but use icons of high modernism and integrate them surprisingly into useful or ritual objects.
Such objects raise questions of identity, faith and how they interfere with the gaze.
Through my art I combine broken or un-connected iconic forms that exist in my environment in a new way, understanding that these holes and gaps have a reason. The connections I create are not answers but the option of synthesis that embodies the humor in each one. These connections reveal the tension of contradicting powers that the work had hidden inside.
The works are colorful and seductive, but despite their naive and wild look, they are structured. They create disruptions and raise questions regarding identity and belief, trying to generate a complexity of identifications that can exist simultaneously.
Key motives I return to:
Monolith / tablet - a simple geometric shape taken from Mount Sinai, the Islamic Kaaba and Malevich. It appears as an object or structure which confronts a liquid, expressive and colorful material.
Hair - a savage and bestial element, the direct continuation of the brush I paint with, it stems from a reasonable place as the head but always exaggerated and becomes an entity unto
itself. It can transform into smoke coming from a candle or feathers growing on a mustache of a man.
Portrait - a starting point and a focal one. Portraits create my cultural community; Rabbis, Rebbetzins, painters, family and self-portraits. This community is built in a certain logic that is either zoomorphic or performs ambiguous gender.
Boundaries of the painting - many times I organize the drawing from the frame, like in a child's painting, through the painting of frames, decorative corners, gates and oval mirrors. This practice exists is an unplanned layer, that strives to restructure the chaos of the painting.
Current Focus
My recent paintings deal with different types of nets/crisscrosses, and the way they let me create and dismantle the image.
I'm interested in multi-layered painting that combine mobility between myth and reality. Through the grid I weave the tension between images deriving from different symbolic fields. In addition I created several sculptures that derive from this concept yet spread into a 3 dimensional object. The expansion to another medium interests and challenges me by itself and in comparison to the context of painting.
The sculptures are a series of objects inspired by religious paraphernalia shops, Judaica stores and exotic decorative objects, put together in a new surrealistic context. These objects do not carry nostalgia or satire but use icons of high modernism and integrate them surprisingly into useful or ritual objects.
Such objects raise questions of identity, faith and how they interfere with the gaze.