I was born in New York and the influence of the urban space, street art, graffiti, the glass-clad towering high-rise and the city reflected in them, along with the local urban landscape of Tel Aviv where I grew up, are ingrained in my creative realm. In my work, I take on the relationship between inside and outside, between opaque and transparent, hidden and visible, soft and hard, “high” and “low,” while marking the private and public sphere and revealing the gap between the singularities of labor's intensive hand made to the reproducibility of the industrial products I use. 
My works address notions associated with the haphazardness, demarcated territories, or transient shelters in the context of acute global issues concerning the future and integrity of our planet.

In recent years, I have been creating site specific installations and sculptural objects, using ready mades and materials extracted from the mundane and functional office life. Electrical and plastic cables, sockets and plugs, fluorescent and LED lights, PVC sheets and bubble wrap and other ready-mades undergo a process of transformation into a new material and geometrical syntax. These come together and formulate a constructive language that transports the material from its physical dimension into sculptural, poetic, symbolic, and conceptual realms.

Through this work process, which disrupts the common function and purpose of the various elements, emerge a new language and aesthetics, embodied by complex assemblages that resonate their original function. One example is the use of nylon filaments to “weave” long thin fluorescent lights, creating a free standing sculptural and structural system. For me, the objects, as well as the space around them, function together like screens or divides of sorts, allowing the viewer intimacy and respite. 
The layers and processes of my practice are uncovered in installations that combine transparent PVC sheets, which I use as support for a range of techniques. The transparent plastic surface allows and exposes the stages of my work process, exposing what happens “backstage” and connecting the inside with the outside, the front with the back. In addition, due to the support’s transparency, the painted elements appear to be “floating,” breaking away from it to the space.

Prior to focusing on sculpture, my main practice involved painting on transparent plexiglass panels or plastic packaging sheets. These works maintained the tension between figurative images and abstract brushstrokes. The traces of the paint and colorful wallpaper strips echoed an urban aesthetic of towers, like a relic of an urban setting, construction and destruction, growth and withering. Alongside formalist, geometric abstract painting, I also engaged in miniature labor-intensive elaborate drawing that resembled a cryptic and obscure language. This was an autonomous world of images comprising many symbols, some drawn from reality but most of them fictional. The obsessive and labor-intensive drawing evolved into the repetitive drawing of patterns, like lacework or tapestry. Later, these were duplicated to form a digital pattern, which I used to create a textile or an “epidermal cover,” with which I clad different work surfaces.