I work mainly with painting, while stretching and challenging the limits of the medium. I often use traditional technique of oil on canvas or paper, through which I confront the material with the image and the surface with the frame, to create works in which the figurative and the abstract are in constant tension.

My painting process is deeply connected to my religious upbringing. As a woman who grew up among strong religious and political ideologies, painting is the place where doubt and ambiguity can reveal and even become an object of beauty and indulgent.

The  images i paint are fragments deriving from various sources such as literature, art history and history. From common collective memory or rather intimate and personal experience. In my exhibitions my paintings combine into a non linear story where the difference between past and present is questioned and the border between real and fiction is vage.

I work with paint to create a surface , by spiling different kinds of fluids I erase the surface and the painting is created by  dissolvement of  painted layers until an image is created. Coming from a background in archeology, i see my painting  practice as a reversed digging process where i dig down up  trying  to learn something about the future.

Certain  images repeat in my works, becoming a kind of archetypes. A report i read in the newspapers of a stone falling from the welling wall in the end of Tisha B'AV became a symbolic object revealing  a prophecy of both disaster and redemption. In the series ‘To be Interested in a Picture that no longer exist ’; the ruined temples of Palmira, Syria are depicted in through photos revealing the before and after the ongoing war and the rule of the Islamic State (ISIS).

My practice is experimental  and combines actions such as collaging, abstracting, fragmenting, dulating and more. The image  is revealed to me through the layers of paint created  on the surface, after that i will juxtapose it with another image i choose. By doing so a new reality is created on the surface, one that is figurative and abstract at the same time.