My painting centers on handmade objects used in the past:flint stones, which were used as weapons or tools; beads and necklaces, used for commercial or ritual purposes; ropes, braids, and mats.

Growing up in South America, my home was full of handmade artifacts from all over the continent: Carved sculptures, weaved baskets and rugs, leather drums, chairs and tables, handmade knives and original colorful naïve paintings. I always felt these artifacts preserve the knowledge and the personality of the artisans who made them, telling me stories about their lives, needs, and believes.

In my painting I try to go years back, to learn from the artisans who made the objects, and to create them anew. My brush digs in the paint, moving, removing, adding and heaping, attempting to braid and weave the paint, to hew and carve the painterly layers, to unstitch and reconnect.

While painting, I seek those moments in which the objects acquire a life of their own, transforming into a sign, a borderline between hues, a starry desert night, an apocalyptic landscape, a giant color wheel; full partners in the mysterious choreography of the dance of painting.

My latest work centers on archeological findings from the Judean Desert, and the local atmosphere of this area – an isolated piece of land where biblical and present times are intertwined, a place of endless wars and battles throughout the decades and the hiding place for spiritual cults.

The more my work is dealing with local Israeli imagery, the more the paintings are taken apart to layers. Time and place are caught in an unresolved intermediate states. The unpainted areas and negative spaces are expending, and the void is taking over the painted object. The liminal space in my paintings is suspended – a space that exists outside the natural order, beyond words and clear, concrete distinctions.