Appropriating from memory, mythology, and a familiar collective consciousness, the digital works I produce invite viewers to experience our inescapably mediated lives “through the looking glass”, where sexuality, power, and class issues reverberate in idiosyncratic juxtapositions. On a conceptual and technical level these tableaus consist of fragments that are reassembled at oblique angles to their original context. They are not meant to convey logical conclusions nor to allow for easy categorization. I feel akin to past and contemporary artists, writers, and filmmakers who uncannily deconstruct rigid notions of reality and perception. The extension of this sensibility with computer-based applications is only natural to me as a reflection upon the Digital Age in which we all coexist.

Central to my work are themes of TRAVEL (Wandering, migration, exploration, voyage, movement) and HOME. Home and Travel are linked in interesting ways: One connotes stability and rooted ness and the other is fluid, moving and 'free'. They also seem to contain each other (home is a place one MUST leave, but you can never fully LEAVE as you always carry your home with you…). Does home refer to the place where you were born or raised or is it a feeling of belonging and contentedness? Is it possible to think of ‘Home’ not as a space, but a state of mind?

Born in Brazil, raised in Israel, and now residing in the USA, I weave my personal experience of travel and migration into my work. Thus incorporated, I choose a poetic, playful and often humorous ways to talk about travel as a metaphor for every one’s time travel through life. I take some of my inspirations from the many jewels of wisdom I find in the Buddhist philosophy. There’s one that I particularly cherish, and it’s the term Migrating Souls. It describes the circular and never ending journey of humans on this earth, as we migrate from one body to another to take on different births and face karmic deeds and imprints from past lives.

This philosophy is illustrated in my mobile installations (Wanderlust, Homeward Found and Far Away, So Close) composed of multiple pieces where their meaning changes with every new organizational pattern. Each different organization takes on the imprints of the installations prior experience and starts a new pattern of its own. I like to think of these installations and their circular motion as compositions in language as well, where narrative and meaning is continually created subverted and questioned depending on their mere order. So much of our understanding and interpretation is depending on syntax, sequence and context…what if the order is disrupted? What is the reading sequence starts (like Hebrew) from right to left?

Probably a direct result of my multi cultural identity, art training and proficiency in three languages (Portuguese, Hebrew and English) is an insistence on working with various media such as painting, drawing, video, installation and text. It’s particularly evident in my painterly practice where I juxtaposed and merge an eclectic blend of painterly style, modes and processes which historically and culturally are set apart. It’s Babylon par excellence!

The references and imagery that I employ varies from abstracted to recognizable imagery evoking the cacophony of travel: Landscapes, maps, vehicles, airplanes, street signs, airports, places, things, people, words.

My mixed media drawings and video (Carry on and on) reflect my interest in the idea of 'taking ones home along’ and carrying (schlepping) luggage, both physical and mental as an expression of one’s attachments and individuality. I compare the body to a suitcase and vice versa as both function as a shell, a container for transporting things and eventually, both wear out and disintegrate like a snake’s skin. In my (In) Site series I also explore the idea of tourism as a ‘mediated travel’ overshadowed by its own documentation where the still photo becomes THE experience.

Although inspired by my personal journey through life, I aspire in my work to be universal and go beyond cultural identifications, politics and religion. I invite the viewer to think about ‘journey’ (made out of multiple paths, side roads, U turns, underground tunnels, reservoirs and swamps, oceans to cross) as a possibility and not as a fixed plan…I empower the viewer to rethink their creative role in planning (and taking) charge of their own travel through time…

My work is comprised of small constructions built with my own drawings and found objects; photographs of the constructions in progress; and installation pieces based on the photographs and constructions. My photographs and installations reconstruct places where memory has accumulated as history through the anticipation of future experience, discovery of place, and the substitution of anticipation for experience. These miniature narratives are placed within the context of man-made structures of colossal proportion and scientific explanations of natural phenomena. Like memory, my constructions and photographs reduce these colossal and long-enduring structures to fragile and transitory symbols; these are only glimpses.

In my paintings I use the figure to represent certain emotional states. By employing allegory I shift the focus beyond any one particular person and towards a more universal situation.

I am not really concerned with painting an observed reality. The cinema and its narrative devices are more significant to me. Sometimes I paint a similar image or scene over and over, changing colors, angles and gestures. Formal issues and how they too affect the perception and emotional resonance of an image are also important in my work.

A calculated guess, of chance: precisely.
My attempt in this process is to create a situation that forces my intuition to be completely "in the moment".
I create universes with their own constellations, mood, and protagonists.
Inspired by topography and landscape, I play with three dimensional illusions and subtleties of depth, allowing for realism and abstraction to intersect.
The process itself is what drives the creation of my artwork. I make certain calculations like overall color schemes, and the shape and size of the canvas, with a most-likely end result in mind, but ultimately, it is the behavior of the materials what determines the outcome.
Sometimes redefining the course of action, taking me to unexpected places and confronting my expectations.
I am, in all accounts, a facilitator of it's will.

My work is based on the transformation of random ephemera gathered from the everyday. Through the process of transformation the original meaning of the object changes. The mundane, that served a particular function at one time or another, is given place and reverence. It transcends its identity.

The selection of all found objects reference time, space or human interaction – they become part of a sort of “philosophical anthropology.” These objects are chosen because they hold deeper connections to people or places regardless of their external importance. Transforming them is an act of shifting the energy that they hold, similar to a shamanistic practice. The finished piece becomes a tool in a larger language and often references anything from artifact, fetish, healing object to an arcane language. I use many different materials such as wax, entrails, plaster, paint, thread and fabric. I combine the old with the new. The hand is evident upon things mass-produced and machine made. Craftsmanship is a byproduct of my meditative and intuitive approach.

I like to think of the work and myself as taking the everyday world as a starting point. David Hume states that expectation of one thing following another does not lie in the things themselves, but in the mind. And expectation is associated with habit. The child perceives the world as it is without putting more into things than he experiences.