Artist statement

I use geometry to give physical form to feelings that are difficult to express in words. I am drawn to the way a repeated shape can establish order, and how a change in its angle, proportion, or position can unsettle that order. A precise structure can begin to suggest movement, tension, or calm.

My interest in pattern began with looking closely at my surroundings: shop windows in Tel Aviv, old tiles in Jaffa, architectural details, and the Moroccan motifs that were part of my family’s visual world. Being deaf has shaped my attention to what I see and my interest in communicating through form. I continue to find ideas in ordinary surfaces, from a piece of fabric to pavement or a metal structure.

My background in architecture informs how I develop a work. I begin with sketches, explore the form in a three-dimensional computer model, and translate it into flat templates. In the studio, I cut, fold, and assemble the individual paper elements by hand. The work takes shape gradually, through the accumulation of many small parts. I value the concentration this process requires and the moment when those separate parts become a larger image or pattern.

Paper remains central to my practice because such a familiar material can become spatially complex. Its folded surfaces catch and interrupt light. Monochromatic works reveal small differences in depth and shadow; color introduces another way to guide the eye, through gradual transitions or a sharp change between neighboring forms.

I want the work to reward sustained looking. From a distance, a composition may read as a continuous surface. Up close, its construction becomes visible, and another rhythm emerges. As the light changes or the viewer moves, different edges and colors come forward. That changing encounter is part of the work.