Artist Statement

Entire the course of my life I have found myself drawn to the understanding of social textures, the behavior of human in the group, and the individual and collective meaning that man derives from meaningful experiences within the group.

My works deal with an intimate connection between people. Creating new and unconventional spaces in which the person or group receives new meaning through the medium of photography, the interactive installation, or a transformative event.

In my photographic work, I move from conceptual to documentary, and seek the balance between the intimate and personal search that takes place at the stages of photography. In the face of creating a fantastic and expressive world that is freed from specific time and place constraints and gives freedom to the alter ego created by the encounter between me and the object of photography.

In series like "Color People" or "Forgotten Realms" I create a visual language framework that gives expression to the personal process that I and the photographed subject go through together and the final result is a "peek" or memory of this process.

In these series I am inspired by artists such as Jackson Pollock and futurist artists alongside modern artists such as David La Chapelle, Gregory Crowdson and Jeff Wall.

In projects like "Community Project" or "Village People" I try to understand the human fabric that exists in a physical or perceptual community. In the process of photography, I try to understand what gives people meaning and why they choose to associate themselves with the community, and through this I may also understand myself and my search for family.

The nature of these projects is more documentary than the desire to create human "documents" of groups inspired by artists such as Richard Avadon, Ryan McKinley, Nan Goldin and Sally Mann.

One of my trips brought me to the city gates of the "burning man" and introduced me to an experiential world in which the boundaries between the installation and the participant are almost completely obscured.

This experience introduced me to the world of interactive installation and the creation of spaces in which one can examine the limits of the interaction between the artistic sculpture and the participant who experiences it in the face of the collective experience of group work.

As a member of the Gugara art group, we created interactive technological installations using wood, metal, and textiles.

Such as the construction of a sculpture or precise brush strokes I see in creating these groups as an artistic work in itself, human treasures and precision in directing the group to the ultimate goal is a fascinating journey in which I continue and deepen my research in understanding the deep desire of people to connect and create. Like the chisel in the wood or the iron welder, human sculpture is an integral and inseparable part of the work.

My relationship between the world of plastic and Musial art versus the experiential and interactive world led me to seek new and creative ways to bridge these worlds in my perception and the way I connect it out into the world. In addition to all my physical works, there is one large and ongoing work that takes place physically, a horse farm that my father founded 16 years ago. Today I live there with a changing community of artists. Through the tools and language I have learned. I see this place as a social platform in which the boundaries between life and creation are blurred and intertwined in an inseparable way, sometimes life leads the creation and sometimes the creation leads life. Here I create physically in my studio, build installations in the workshop or create experiential spaces in which I transfer people through a transformative journey in which the participant does not go out as he entered.