I work primarily as a figurative painter, using oil and mixed media. My process is largely observational: I construct small worlds from found photographs and images I capture, and small objects I assemble both from the natural and human-made world. I  then paint these small worlds from life. I also paint scenes from daily life or nature, sometimes mixed with found images from the news, history books, or illustrations or animations that speak to me.

    For me, art- like life- is fundamentally about relationships. Meaning emerges through the connections and interrelatedness, through the tension and resonance that arise when parts meet and interact. This space between elements is where my work comes alive.

   In this sense, my work is similar to quilt-making, where content, it's origin and design are inseparable. The interconnections between the different “patches” create the whole: they echo, rhyme, or oppose one another.

   To me, this work reflects the human capacity to observe,imagine, resource, search, initiate, bring together, tell  stories and weave new realities into being. As the poem by Israel Eliraz says, “The seeing is stronger than the seen”.

   It is in this talent for creation that our sacred shared humanity  is revealed. Painting for me is a meditation that brings me back to this awareness over and over again.  The tension between socilaization, determination,  agency and free choice fasicnates me.

    I return repeatedly to childhood and toys as formative forces, as well as to death and the passage of time, which, through their finality, heighten my awareness of choice, socialization, and the free spirit that exists beyond and within the physical.

   My fascination with flowers emerges from a similar inquiry: an engagement with their fleeting existence, their exquisite beauty and joy, the acute awareness of time they accentuate, as well as the life force of their annual return, and more recently, the fragility of this return in relation to the changing weather due to climate change in the mountains where I live. 

    Recently, I have been working on the liminal space between "seeing and not seeing" traumatic occurrences, too much to conceive, and too destructive to ignore. 

In my latest body of work, "Gaza Is Here", I begin to confront both my family’s intergenerational trauma and the horrors I have witnessed since October 2023 as a Jewish Israeli deeply aware of both the horror of October 7th, what has transpired in Gaza since, and the long-standing occupation in the West Bank. To me, this stance of "seeing not seeing" heavily relates to the destruction of the climate; my current body of work explores this edge of denial in its many aspects.Including the faint but present possibility of hope and healing.