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, or have potential for activation by the viewers (such as musical instruments). 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.

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. Mauve Bird is a multidisciplinary project in which vast colored inflatables, sculptures, and dance movements are combined to form an immersive psychological landscape commenting on empathy. This body of work is constructed as a tetralogy, premiering a new sculptural and performative installment each year until the completion of the project in 2018. Each part is based on a color - Blue, Yellow, Pink, and Orange - and respective emotions they relate to.
Empathy, the underling theme of the project, is proposed here as non-judgmental, non-hierarchical way of relating to the other and her/his emotions: Specifically primal empathy, which is a bodily instinct, before or beyond intellectualization

I grew up among strong religious and political ideologies and figures. My resistance to this environment lead me to making works in which “eye for an eye” would become a glass eye and an avocado turning around on a blue stick. In other words, my response is an opposition to linear punishments and harsh opinions, through an intuitive and imaginary practice of art, while maintaining the necessity in the connections of materials and their ability to balance. Serving in the Israeli army for two years, opened up another set of inquiries on mental instability, trauma and labor, that later became materials to work with in my practice. I am interested in Post Traumatic Stress Disorder and specifically in the physical symptoms associated with it, and the related disabilities, which I investigate through fragmented cast body parts. 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”.
I use the system of Jewish religious rituals and transform them into a set of made-up rules, such as walking from Jerusalem to Tel Aviv in the opposite direction of a pilgrimage – a “kinetic ritual” I performed once a month for two and a half years. Taking traditional rituals and movements along with post modern dance ideas and gestures, I construct hybrid pieces that reflect on sculptural questions such as gravity, balance and dependency.

In 2013, I founded The Moving Company, a performance art ensemble creating temporary sculptures in the public space. The Moving Company is strives to develop an inter-media genre of performance that originates from and expands the definitions of dance and sculpture: non-dance dance, performance art that can be read in sculptural terms, and sculptures that talk back to post-modern dance. I hope to contribute to expanding performance art to include creation of social spaces and temporary communities where people can interact and connect to one another on an immediate human level. And establish The Moving Company as a new model of a performing group, which invites an ever-growing roster of participants, and serves as a laboratory for movement research and educational partnerships.