As a performance artist I examine the way body-presence is taking spatial, gender, and a political stand.
I take an interest in the gap between the contemporary and the historical; creating a hybrid soundtrack in my works composed by Pop, Pank and Classical music. Between the poetic and the concrete; I use quotations from art history and references from the tangible world.
I deal with disassembly characterize of identity and identification, whom I research both from my personal background, as an outcome of my grandparents Zionist agenda, who migrate to a kibbutz from White Russia. Due to my “kibbutz” (collective community) education I work with performer's ensemble over time, to establish a common practice.
Since 2017 I started working on “Presence Sites” project, and seek for stories and narratives that comes from underneath the surface of documented knowledge, and clash with canonic histories and truths.
I create pieces for public and alternative spaces that have fluid behavioral codes. I see a value in meeting with diverse spectators that could be present in the work spontaneously and be mobile inside it.
I inspired by works of Jill Magid that research structures of power in society, and Alexandra Pirici, who reacts to historical monuments with the ephemeral body. I also influenced by Werner Herzog documentaries and Adam Curtis’s “Hypernormalisation”.
I believe in taking a radical position as I enhance ways of expression and art formats: hybridization between documentary and fiction, dance performance and a conspiratory history class.
I believe in feminine forces that resist the militant and the heroic.
In my movement research I look for tenderness, caring and solidarity in their physical appearance.
I support in artistic action that occurs in reality that observes and reconstructs it. An integral part of my methodology includes meeting with people and listening to their stories, and their views.
My works are site specific, site responsive and react to the zeitgeist.