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I chose to engage in objects placed in the public sphere and the experience of the viewer’s encounter with the works. This experience blurs the boundary between inside and outside and gives material for thought concerning what home is and the public space, and where we are in the seam between them.

My ambition is to make viewers take even a momentary break from their life routine and agenda, linger at work and suddenly feel somewhere else and within an experience atypical of an urban environment.

A work of art displayed in a museum or gallery exhibition is intended for an audience that arrives especially for the art. In a public project, everyone becomes the audience. Therefore, the purpose of the formal language through which I choose to speak is a universal and legible language as much as possible.

The guideline for developing an idea for a public project is basically a kind of “taking over” space. Its purpose is to create a smile or a surprise, to be memorable since there is a certain “coercion” on passersby when an installation or traffic circle “captures” them in the middle of the day – on the way to work, entertainment, errands or a random walk/drive.

Exposure to the work is immediate. The viewing duration is fast. Therefore, whenever selecting the idea for a project, I consider elements that will “catch the eye,” attract to touch or elicit a response.

Throughout my years as a student in the Ceramics and Glass Department at Bezalel, I dealt with “frozen softness” by employing soft models and turning them into a product that has a different meaning from the original.

The fabric, which enables soft movement, has interested me for years. In my studio, I designed products based on fabric. Sinks that received soft curves from the model became useful everyday sinks, porcelain lighting fixtures that started from fabric, and various other products.

The knowledge I acquired in molds, castings, and various materials allows me to understand the material’s capabilities. It opens up possibilities for me without limiting myself in the material-technological aspect.

Imitating the material by another material, such as ceramics or concrete, intrigues me. I study the unique textures and aesthetics in every material I work with, and in my works I also aspire to produce a complete sensual and visual, textural illusion.