My motive for artistic creation stems from an ongoing inquiry into the role of the artist in shaping social and historical processes. I operate within the field of art as an agent of socialization, and within this field I frequently participate in projects that view art as a tool for social formation. The issues that occupy me are deeply connected to contemporary reality and to the processes that have led to this reality, namely, processes of memory. I am fascinated by the gap between the infinite, abstract concept of memory and its tangible material translation, and accordingly, I explore the relationships between memory, history, and materiality in both personal and collective contexts. Furthermore, I investigate the ways in which personal, social, and national identities are formed, and the reciprocal relations between the individual and society in shaping these identities: Through the analysis of memories and past experiences, I demonstrate how the past is utilized in the present and how it is employed in struggles over identity.

I am the mother of a child with Down syndrome, and in recent years the theme of “otherness” has become central to my work. I examine the impact of the environment on the parental identity of parents of children with special needs, as well as society’s attitudes toward these various identity definitions.

My working process begins with a strong theoretical foundation that leads to visual and material research. I work through a method of trial and error, without aiming for a predetermined final outcome; rather, I seek an open-ended process that enables discussion and dialogue with viewers. Moreover, the working processes themselves are no less important to me than the finished work, as I attempt to emulate processes that are inherently infinite in nature.

My primary working method is printmaking, as the essence of the printing act is the creation of material memory. The matrix, the ״mother plate״, is the initial source, yet it serves merely as a means to produce the print, which functions as evidence of something that once existed and no longer does: a trace of an action that has already ended. Traditionally, the original plate is destroyed at the conclusion of the process, rendering the print a copy without an origin, that evanescent presence that constitutes a recollection of something that was and is no longer. However, print and its material reverberations are not the only media in which I work; the choice of medium in each project is guided by the underlying concept. In every project, I acquire new techniques in order to create layered installations. For example, in the installation “Over Excess”, I knitted a ten-meter-long textile on a manual knitting machine based on my son’s genetic code. In the installation “Leavening”, I created collapsing porcelain vessels containing live sourdough starter, in parallel to collapse and the attempt to continue living after October 7th. In the installation “Tonus”, I sculpted a distorted playground to illustrate muscle tension as a metaphor for a non-normative life trajectory and the gaps in perceptions of differing realities that accompany such a path. Likewise, in each project I employ a wide range of techniques and media.