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About my work

The elusive creative process, at least the part I can describe, nearly always begins for me following a reading of canonical texts from literature and philosophy, scientific research articles, or images from science, especially the aesthetics revealed through the microscope. These are what generate my artworks, as each beginning of a new work is the outcome of a continuous quest.

Over the past few years, I have been working with readymades and found materials, whose common denominator is simplicity, ordinariness, functionality, and lack of aura: synthetic and metallic materials, such as industrial bristle fibers and wires, or rubber bands used in offices. These are the basic elements of my artworks.


The fact that they are not unique enables me to create dialectics between their practical use, so familiar and well-known, and between their use as the main components of an artwork. For example, rubber bands resonate the practical nature of an organization, with its orderliness and clerical banality, while I charge them with the added symbolism of their embodied elasticity, round shape, and being a link in a chain. This reveals its ambivalence: if we examine the limits of its elasticity, it will break, lose its ability to function, and will strike back at us in a whipping motion.

The major effort in my work is devoted to the way in which I express an idea visually through material characteristics and the crude visibility of objects. During the work process, a transformation takes place from the synthetic industrial raw material lacking any aesthetic value into an organic object or image charged with beauty in which are embodied motifs of nature, such as waterfalls, sun, climbing vines, clusters, and bulbs, or a spider web. In this way, in the drawings, a crude metal brush becomes a delicate blossom, while small objects from the same materials become a garden of miniature, seductive succulents.

From time to time I engage in video and etching, but most of my works are large-scale site-specific installations. The installations are essentially drawings in space made of hundreds to tens of thousands of units of uniform color and shape, connected/tied/stapled/intertwined in laborious extended repetitive action.

Art enables me to be a perpetuum mobile, but also to stop and explore the byways. It requires me to make fascinating thematic connections, leaving me tensed in readiness as I delve into issues I find important. I must be sensitive to my surroundings, and in a metaphorical and concrete search, I seek everywhere new objects, materials, technologies, solutions, and latent attributes that can become part of the narrative I wish to convey.

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