ARTIST STATEMENT

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Ceramics is my second language, one I adopted at an early age and through which I learned to read and understand the world around me. As a child, I remember scanning the sandbox in search of small “treasures”: fragments of plastic, glittering particles, broken objects, and discarded wrappers. These incidental discoveries activated my imagination and transformed the ordinary ground beneath my feet into a site of possibility.

Over time, I came to understand this act of searching as central to my artistic methodology. Having lived in dense urban environments, I am drawn to the city’s visual noise, a kind of material soundtrack generated by the rhythms of everyday life. Asphalt roads, concrete pavements, construction barriers, stains, cracks, and accumulated debris form a saturated landscape that is constantly changing and being rewritten. Growing up in Jerusalem, where ancient structures, archaeological remains, and ongoing construction coexist, shaped my perception of the city as a layered material body, continuously built, eroded, excavated, and renewed.

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My encounter with maritime archaeology further influenced my understanding of ceramic objects as carriers of time. Vessels recovered from the seabed survive as evidence of the people who made, used, and transported them. Fractures, sediment, and marine growth merge with their surfaces, transforming them into composite objects that hold stories of human life, material culture, and movement. Although the image of the vessel was once central to my work, it has gradually fragmented, flattened, and almost disappeared. Its underlying actions, containing, accumulating, dismantling, and reassembling, remain fundamental to my practice.

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I regard myself as a sampler. I collect forms, textures, images, and objects from my surroundings and translate them into hybrid ceramic compositions. Through molding, repetition, fragmentation, and recombination, familiar elements lose their original functions and become part of a new sculptural language. I often incorporate found glass, sand, stones, ceramic shards, and metals, which undergo an irreversible transformation inside the kiln, permanently inscribing the encounter between time, place, human presence, and matter.

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At the core of my practice is a tension between the constructed and the organic, the controlled and the wild. Through sculpture and spatial installation, I bring concrete, asphalt, stains, and fractures into dialogue with vegetation, fruit, animal traces, color, and uncontrolled growth. My work invites viewers to pause within the visual noise and richness of everyday life, and to encounter the city as both an external landscape and a reflection of erosion, friction, imagination, and renewal.