My works are self interrogations that are threaded into subjects of larger scale - the myths, landscapes, taboos, and images that form the foundations of identity and place in the country from which I come.

In my works, I tackle the involvement of the photographic medium in the history of colonization in Palestine and the creation of the Zionist sense of place. I work from the standpoint, and in an effort to imply, that photography didn’t only contribute to these colonial projects, but was also affected by the tasks it lent itself to. As a photographer, I use my work to challenge what is perceived to be native and naive in the images made by others and myself. I approach the photographic medium as an extended field, using multiple research and presentation tools such as video projection, virtual environments, mapping and surveying, 3d modeling, and other digital technologies.

Within the field of research-based art, my interest extends from the practice of research, to its placement within the public domain. I believe that research should not be limited to the discovery or creation of exclusive artifacts, but should engage with the creation and dissemination of knowledge, which in turn can lead to public action, acknowledgment, and inclusion. In this way, I see my practice as politically active.

My most recent works engage with their subject matter using performative texts. I work with texts that are situated within a certain historical and cultural context - a commencement speech, an elevator pitch, the 19th-century oratory text, and the “Indians' Deathbed Scenes”, to name just a few. I’m using the tension created by the contradiction between my performed delivery and the message of my writing, as means to create engagement with my work, and to embody the political complications that are the center of my works.
Speaking in a loud and clear voice has been my way of departure from the artistic demand and desire to create objects that speak for themselves - a notion that comes from the colonial institutions of the cabinet of curiosities and the Encyclopedic Museum. These traditional presentations of artifacts, which are embedded within the modern art world, make these artifacts convenient for anyone to project meanings of their own upon them, at the price of stripping away their social, cultural, and political context, to the point that they can barely speak for themselves at all. In my practice, I’m committed to unabashedly formulate, with images and words, the complex ideas and contexts within which I operate.

Creating and researching in the US introduces important aspects to my work. Exploring the geography of Jewish diaspora, and the way it is embedded within the North American landscape, presents for me a way to challenge the Zionist notion of an inevitable return, and the idea of a destined homeland. Working outside of Israel offers freedom from the mental constraints of an ancestral home, and presents the fascinating challenge of translation - to address local symptoms while connecting them with global phenomena.

May 2021


A map fixed on a classroom wall, a yearly celebration of tree-planting, the images in a textbook, or a national school ceremony. These products and idols all have a function in the process of cultural structuring, and growing up in Israel, I became aware of these processes. In my work, I wish not to break these idols, but rather to investigate and question them.

As an artist and photographer, I'm drawn to the images and documents that are an active part of that cultural structuring, especially maps and landscapes. Their ability to conceal while maintaining a neutral appearance is what makes them such powerful tools of education, and they testify explicitly on the subject in dispute - The Land. In the context of the Israeli nation-building, these images and documents are tainted continuously by Sacred Geographies. In studying maps and landscapes, I'm interested in exploring the people, organizations, systems, and ideas that contributed to their design.

In my ideal, unreachable goal - the form of my works and their subjects are combined. The form is invented to deal with different, new ideas, developing a new medium, a new kind of camera, sensor, or program for each work.

January 2019