There is no word for “davka” in English. The closest would be “purposefully.” There is no word for “awkward” in Hebrew. My work lies between davka and awkward, recomposing movement with sculpture in the absurdity of the everyday.

By composing objects and movers, I create “handheld histories” that examine transformations of cultural and psychological narratives through the lens of personal perspectives. The purposefully awkward, improvised movements visualize these shifting perspectives and present nomadic quest as a form of questioning.
My work attempts to invert the usual conception of movement and stillness in relation to the ephemeral, I am interested in finding stillness in movement and movement in the still/sculpture and see how they contradict and complement each other. The sculptures embody physical gestures inviting the viewer to mirror them with their own bodies. Some have potential for activation, such as musical instruments, wearable sculptures, or inflatables that the audience can enter. In the performances, the performers are still or fixed either to the ground or to one another, and there is no development or resolved narrative throughout the performances. Therefore the moving bodies lose their temporality and become lasting, like a moment that happens over and over in time.

I grew up in an orthodox family in Jerusalem, the granddaughter of a rabbi. However, I stopped identifying as an observant Jew during my mandatory military service. My life changed dramatically: I went from a closed world and an all-girls education to a paratrooper unit with four women and 170 men. But despite this obvious change, my new world was a lot like my old one; I had passed from one set of strict rules to another. As before, I had to deal with the rigidity of my situation and the difficulty of finding space as a woman. My upbringing and my service thus led to some of the themes of my practice today—for instance, my resistance to simple binaries of right/wrong.
Taking traditional rituals and movements (such as walking from Jerusalem to Tel Aviv in the opposite direction of a pilgrimage, sixty kilometers along the side of road number one, once a month for three years) along with post modern dance ideas and gestures, I construct hybrid pieces that reflect on the body’s dual roles: vehicle through which we experience our everyday life and container for the human spirit. In Yvonne Rainer’s words in her statement for “The mind is a muscle,” talking about the ease of turning off the TV after seeing the Vietnam War: “My body remains the enduring reality”.

My current project Mauve Bird with Yellow Teeth Red Feathers Green Feet and a Rose Belly confronts our (machine-like) psychological defenses with collective gestures. Mirrored movements break down the us-versus-them binary, and primal empathy prevails. m an immersive psychological landscape commenting on empathy. Empathy, is proposed here as non-judgmental, non-hierarchical way of relating to the other and her emotions: Specifically primal empathy, which is a bodily instinct, before or beyond intellectualization.