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MFA Hunter College, NYC.

B.E.D. The School of Art – Hamidrasha, Beit Berl College, Israel.

Sound Studies - Sapir College, Israel.


Through my work I search and expose relationships between organic-environmental processes and cultural processes, in an attempt to find hidden meanings or regularities that enable my own creation.


The earliest references to such connections reveal themselves to me intuitively during random wonderings in urban or natural surroundings:  A tree scarred by worms gnawing, vis-à-vis a ceremony of skin scarification; mushrooms' nutrition and reproduction processes vis-à-vis mathematical-technological models of information transmission; vegetal defense mechanisms vis-à-vis human behavioral instincts.


These organic processes inspire me, and serve me as raw materials and as part of the final image.

I search for and discern the eternal knowledge and ancient memory within them, their collective DNA, which incessantly reveals itself through endless forms. My part in continuing the process is to produce the synthesis between the seemingly unrelated phenomena, between man and nature, bringing about the creation of "new phenomena" with a common structure and governed by similar processes. The desire to break the dependency on thought patterns motivates and drives my search for new, alternative, kinds of knowledge, to be found and refined, carved out, from the collective organic memory.

The aesthetics in nature's forms and manifestations - resin, animal sloughs, beehives, basalt rocks, bones, fossils, loess soil, worn out tree trunks - is usually what sparks my curiosity and desire to engage with them as research and raw materials. Their aesthetics bare the essence of the processes that brought them into being, of their characteristics and purpose.

My practice then continues that of nature, gathering and cross-referencing images and information from nature and human sources. The associative connections to cultural phenomena arise immediately, and serve me as guiding compasses through the evolving  process ahead, themselves evolving as my research broadens.


Since childhood I have been playing music on various instruments, especially the flute.

Nevertheless, for many years my main medium was painting and drawing, also starting when I was a child, and continuing until I was 18.

At the age of 18 I decided to study to be a sound engineer, and this changed my sight forever.

During my studies I have experienced a phenomena called synesthesia.

Synesthesia is a neurological phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway.

In my case, it was sight and sound that were mixed together. 


Studying art was something that I was afraid of but, eventually, I decided to take the risk and to do my first degree.

After short time that I started to study I got an offer to be an assistant at the college sculpture department shop and classes, a thing that changed my practice.

The richness of materials and of the three dimensional were for me so new and exciting that I found myself making sculptures and installations in my 4 years of study.


Sound was something that I used in my work as theoretical knowledge rather than as an actual sound, as well as in my writings and in the names that I gave to my works. 

I felt that if I’ll use an actual sound, as a sound engineer, it will be like using a trick and I wanted to avoid it so I made a decision not to use sound in my work, hoping at the same time that one day it will happen naturally.


A year after I finished my BFA I started my MFA.

My attitude has shifted in the sense of being more experimental. 

Now I'm using sound as part of my practice, as well as video and architecture.

I'm interested in psychoacoustics, physical acoustics, anthropology and science.

photo by Itamar Sayag

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