Before starting my academic studies, I never doubted my desire to pursue art.

Nothing prepared me for the fact that the academic framework would stir such strong antagonism within me toward the art field. Much of this stems from definitions or prejudices (exaggerated or accurate as they may be) that I encounter daily and experience in a way that troubles me: on one hand, I would like to belong to this field, and on the other – avoid it as much as possible. The sharp contradiction and tension between these two desires deeply occupy my creative work.

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Authenticity versus the immense lack of it, gallery talks and the "cultural ritual" that accompanies them, fashion styles, traumatic life stories, and the struggle for recognition – all these are just a taste of a long list of things that characterize this field in my eyes, with which I have a complex love-hate relationship.

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Driven by a desire to highlight this conflict, I have created works over the years that critically present my stance, using humor, mockery, exaggeration, repetition, and surprise to varying degrees.

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In direct continuation, I explore how the Israeli cultural world views the periphery. The seemingly pluralistic nature of the cultural and artistic community and the projects aimed at "bringing art to the people" mask under them exploitation, hypocrisy, and condescension, along with deliberate borrowing, orientalism, and blind admiration of imagery.

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Alongside the critical dimension in my works, I try to process and refine my thoughts, examine my place and opinions in relation to human behavior and social mechanisms, and mainly raise questions for the viewers. I also delve into childhood memories and my perception of myself and how others viewed me at a young age – a study that helps me understand my current identity and the journey I have taken.

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Additionally, I reflect on events from my life, the most significant being a Katyusha rocket falling on my home during the Second Lebanon War. In an extensive series of sculptures, drawings, and paintings, I work from vague memory, associations, and imagery from that event. The imagery appears in my works repeatedly and obsessively, lending them a certain degree of irony.

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I often find myself fascinated by tragedies and mysteries. I constantly seek interesting cases to read about, as following these stories and motives satisfies me in a particular way. I discovered that, unconsciously, this manifests in some of my works, even indirectly. Many of my creations feel slightly eerie at first glance, adding another layer of tension and intrigue. It's as if I take a sip from the psychology of the human mind without drugs and without anyone judging me for it.

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The constant search for the feeling of "being at home" – whether in my childhood home that no longer feels safe to me or within the art field, where I am still unsure of my place and whether I even want to belong – accompanies me in my creative process and serves as a driving force behind my work.