Recent Projects



pulling the rug from under, 2011

Meditations in an Emergency,
DUMBO Arts Center, Brooklyn, NY, 2011



MOCK-UP, 2011

MFA Thesis Exhibition and Book Launch, Tjaden Experimental Gallery, April, 2011



 




high expectations, high ceilings, and the floor is at sea level, 2011

Gerstein Gallery, Tel Aviv, January, 2011













Photo by Mati Elmaliach



turkish delight, 2010

Exhibition Tjaden Experimental Gallery, September 2010



Snowglobe, 2010

digital C-print
45" x 40"



Sunset, 2010

C-print on film,light box
18" x 36"



What Did the Tiger Lily Have to Say?, 2010

artificial flowers, veneer furniture, audio recording



Under The Weather, 2009

Exhibition Tjaden Experimental Gallery, February 2010



My Salad Days, When I was Green in Judgement Cold in Blood, 2009

2 channel video installation, looped



Margot said "piercing your ears will make your ear lobes big.", 2008

Three 61x72 cm Cornell drawers, cement casting of my grandmother's clip-on earrings.



Concrete Poetry - in five shots, 2008

Five 106x53 cm concrete casts, balsa woodcut letters. The cast concrete poem was displayed within display cabinets in juxtaposition to the work Upper Upper Little Bridge.



Upper, Upper Little Bridge, 2008

Five 106x88 cm landscape drawings on display cabinets. An overview of the borders between Saudi Arabia, Jordan, Israel, and Egypt.



Whomus, 2007

An ongoing project which explores the relationship between food, history, ownership, and ethnicity, through the process of making Hummus.




Shatnez

Shatnez is the Jewish Law derived from the Torah that prohibits the wearing of a garment containing both interwoven wool and linen; any such fabric is referred to in Judaism as shatnez..

A continuous project 2004 - 2006 :


 

 Aber Wo (but where), 2004

An installation which was made after a visit to Berlin, the city where my grandmother was born. Aber wo which literally means but where- is an old German phrase used by my grandmother to say: No Way.


 

 Sunset, 2005

A geological process in which I ate 60 oranges in order to cast their halves in cement. The 120 cement half-oranges were installed in one room, in an arrow shape. This is a reference to a 5,000 years old hunting system used in the deserts between Syria and Jordan, called Kites. In the next room a large scale video was projected on the whole wall. The looped video was of an unrecognizable female figure that was lustfully consumes an orange. The title Sunset is based on the Egyptian mythology of the sky goddess Nut that consumed the sun every evening and then, by the help of an army of soldiers, gave birth to it at dawn.


 

 Konglomerat 

A continuation of the geological process that began with Sunset. All the 120 oranges were used to cast the inner shape of a suitcase with cement. Barely any trace of the oranges was left in the new form of the cast.


 

 Precambrian Gemutlish, 2006

A participatory installation where the audience is invited to take a half of an orange filled with vanilla pudding out of a suitcase.
Gemutlich in German can be translated as something very pleasant and cozy.


 

 Shmuzepuze, 2006

A development of Precambrian Gemutlich. In this installation the vanilla pudding filled half oranges were put in a suitcase, full of sand, on a variety of porcelain saucers. The suitcase stands on a night table pedestal that is full of sand as well. A 17 ft long rug connects the suitcase and a video kiosk that plays a looped video titled: In Harmonica. The video is a juxtaposition of my grandmother and I playing a well known Israeli children's song, on the harmonica.




 Headstands, 2005-06

This is a project in progress, in which I am observing my body's relation to different locations through the performance of a head stand. The various locations shift from urban architectural settings to historic monuments. The relationship between my body and the site shifts accordingly.


Tiles, 2005

1 sq meter of light blue ceramic tiles.


 Parallel Stress, 2005

A reenactment of an art work that the artist Dennis Oppenheim made in 1970. The project unfolds not only as the reenactment but also as a search for the original artist's approval, and the attempt to locate the original site of the piece. By reenacting Oppenheim's work and signing my last name next to his, I create a forced inheritance of his artistic legacy, and shift his work 30 years forward.


Belly to Belly, 2004

Two silicon castings of bellies hanging in midair, facing each other.


 Cypress, 2004

Field landscapes made out of wooden palates. 5 standing wooden planks. Slide projections of the landscape of my childhood are projected on the installation.


My Right I, 2005

Self portrait with a heart.