Artist Statement

My work derives from the practice and research of pottery and painting. Combining both practices creates a complete circle between the sense of touch and the sense of sight and reinforces the connection between the touch of the hand and the touch of the eye to the object. Connecting both practices unified to one transformative process of the body. The practice of painting is an abstraction of the world of phenomena to colour stains, that by their relations on the two-dimensional surface they become, to the touch of the eye only, 3D objects and space. A timeless window is created from the action of painting that holds the connection of human intention and touch. As I must do with porcelain wheel work, I search for balance and unity in my painting work. The work of the wheel is centering porcelain, a touch that comes directly from the center of the body, the stomach, that turns into a useful 3D porcelain vessel. It is sculpting a painting and painting a sculpture.


Vessels are ‘Still life’ in the pictorial world, and they are a ‘live breathing material’ in the pottery world. In the domestic home, vessels are being used, passed from hand to hand, being placed in the closet - They are a placeholder. In the painting, they become useful differently - they are space givers.


Whether they are my creation or ready-made, the white porcelain vessels were chosen carefully because of their shape and meaning that I can observe as someone who makes them. Through the painting, my point of view as a potter (by the object) and as a painter (by the composition, colour stains, brush strokes) is reflected. 


The ready-made three-legged cup is a historic teacup produced in a porcelain factory in Israel that no longer exists. Observing the cup evokes a memory of a private home that may hold them and a collective memory of a materialistic local culture that no longer exists. 


A sugar container identified with the porcelain that came from a European porcelain factory can reflect processes of migration, which is the essence of the country I'm living in.


A bar of hand soap is an object used by my hands and can be passed to other hands. By choosing it as an object, I realised that the connection of hands-eyes is a fundamental subject of my work.


The Israeli space I currently live in and where I grew up is composed of many identities and strongly marked borders. From the very limited, constructed, and crowded ground I'm living on, a need arises to challenge the borders and create more space. The practice of porcelain (originally from China) and oil paint (originally from Europe) connect through my body to create a new identity and space. The connection between both practices allows a movement between gravity and grace. The painting, with its elusiveness, creates more space and is a way to communicate touch, attention, and home.