Statement

In my creative practice, I develop a visual language that transforms fragments of the external environment into inner landscapes of memory and perception. My work maps subjective emotional states and culturally embedded traces rather than representing reality. Each painting functions as a mental construction, reflecting how space is experienced emotionally, historically, and psychologically, without referencing specific locations or narratives. In an era of constant information flow, I am drawn to the question of where memory resides, and what becomes of the traces we retain or leave behind, translating these impressions into abstract compositions that function as visual fields of memory.

Through the act of painting, I explore the layered nature of perception and the tension between the built environment and the inner world. My practice follows the logic of collage and décollage: I collect and shift fragments of urban space, architectural rhythms, and cultural traces.

An important aspect of my work is the use of encoded painting titles, based on the transliteration of Hebrew words and their numerical values. References to the Hebrew alphabet provide a framework and serve as a reminder of the importance of accuracy in the transmission of information, echoing the Torah transcription tradition where even a single mistake could invalidate a text. This model of disciplined preservation stands in contrast to the age of artificial intelligence, where information can be easily altered and perceptions quickly influenced, resulting in a fragmented understanding of the world.

By developing a personal language of texture, form, line, and materiality, the fragmented elements in my work act as metaphors, inviting viewers to interpret emotional, spatial, or cognitive associations. Each painting becomes a map of presence—a non-verbal reflection on how space is experienced and transformed—offering visual points of reference through which fragmented landscapes of contemporary consciousness can be navigated.