Artist statement:

In my art I examine the different facets of my identity by observing the hidden context and history that sexual identities and political structures provide. While my art is diverse in terms of the media I employ, I am particularly drawn to performance and drag. For me, masking my appearance is a path to self-expression that allows me to discern my moral, political and philosophical standpoint. I often try to deconstruct patterns of masculine myths and other sexual attributes and tropes.

I am interested in the possibility of juxtaposing my own works with various different objects I collect, including photographs, sculptures, and furniture from my parents' home. In my  latest  works  I  used  different  textures  of textile materials such as cotton, silk, wool and fur. My mother helped me with knitting, sewing and using other crafts, while my father helped  me  build mechanical objects. The curatorial practice with my parents has allowed me to deepen my understanding of gender norms in my family, as well as to further examine my family's European origins (my parents originate from Poland and Hungary).

In general, I feel that the optimal conditions for me to produce are outside the white studio walls, experiencing different interactions in which I am stimulated and can re-examine my social and political perspective. In this sense, I see my practice as an art teacher as an important part of the artistic process itself. I feel that combining art and education has the potential to change the way we perceive the world. Being a teacher serves as a great motivation and inspiration for me to become a better artist, especially since I see art and education as forms of communication that can transcend barriers. As a teacher, I try to allow my students the freedom to explore whatever interests them. In class, I aim to confront them with questions and discourse that will shape not only their perception on art, but mine as well.

In my art I also try to raise questions that are considered taboo, such as sexual relations in the family, and look at the ways art is received and perceived when it has a political import. Most specifically, I have explored what triggers ignite censorship of art in Israel. Last year I also wrote about the attempts to limit and censor art in Israeli society and created an archive of those attempts which I find pertinent to my artistic endeavor.