Born in New York and raised in Tel Aviv, I think through the city as both image and structure. Urban surfaces, reflective façades, improvised architectures, construction sites, street markings, and the visual noise of public space have shaped my material language. I am drawn to the city as a layered system of exposure and concealment, order and disruption, fragility and force.

I work with materials and objects that belong to systems of functionality, consumption, illumination, construction, and domestic order. Through repeated acts of dismantling, displacement, weaving, covering, suspending, and reassembling, I interrupt their original use and allow another logic to emerge. My installations often function as thresholds, screens, temporary shelters, or spatial drawings. They invite the viewer to negotiate distance and proximity, visibility and obstruction, exposure and protection. I am interested in spaces that do not offer stable refuge, but rather reveal the instability of shelter itself. Transparency, reflection, and repetition allow me to expose what is usually hidden, structure, support, connections, wiring and labor.

In recent years, my practice has focused on site-specific installations and sculptural objects made from ready-mades and industrial materials: fluorescent and LED lights, PVC, plexiglass, cables, sockets, plugs, plastic surfaces, office materials, and mass-produced domestic products. The work does not erase utility; it exposes it as a cultural code. A cable, a fluorescent tube, or a plug is never only a material. It is also a sign of infrastructure, labor, order, dependency, and control.

This process is central to my DIY series, site-specific installations that have been exhibited in museums and biennials in Israel and overseas. In this series, I work with familiar consumer products and modular industrial elements, transforming them into ornamental, architectural, and spatial structures. The title DIY refers not only to the culture of self-assembly and domestic improvement, but also to a broader condition of cultural construction, the ways in which identity, taste, belonging, and place are assembled from existing systems.

Within this series, I engage with the meeting point between Western consumer culture and local, middle eastern visual traditions. Products associated with global domestic modernity are redirected toward forms that recall Mashrabiya, geometric ornament, screens, and protective architectural skins. I am interested in this collision between the standardized and the handmade, the imported and the local, the decorative and the functional, the object and the façade. The works become hybrid structures, both familiar and estranged, asking what happens when a mass-produced object is made to speak in another visual, cultural, and spatial language.

My Woven series is built from fluorescent tubes that become lines in space, units of construction, and sources of light. I use nylon filaments and repetitive gestures of tying, binding, and weaving to create sculptural systems that shift between drawing in space, textile, architecture, and illumination. The fluorescent tube, normally associated with offices, institutions, bureaucratic interiors, and functional light, is pulled away from its utilitarian role and placed in a more fragile, bodily, and spatial condition.

Through this practice, I examine how objects and materials migrate between contexts from function to ornament, from utility to symbol, from domestic order to architectural presence, from mass production to singular gesture. My work begins with the ordinary object, but seeks the moment in which that object becomes charged when it no longer serves, but remembers.