Alley of Jerusalem Print - Limited Edition of 12

I'm a Conceptual artist. My roots are in abstract oil painting. In the last decade I started a family and the work on the paintings gave room (literally) to video, sound and performance in which sound is almost always integrated (actually always because silence also has meaning in the works). Over the years, as my world becomes more spiritual, my works become more minimalist both in terms of concept and material. I study Torah and am busy with words. In my studio today there is an electric piano and in my new work I work on colors from sound. I examine in my work with a critical view the concepts of faith, worship and tradition in a process that contains my relationship with the painting and with the photography/video and put them not necessarily against each other but at the same "dinner table" as if the painting and the photography were my children and we sit at the table and sometimes I am the child And so on. For example, in the long video works ("Yearning" 59:00 minutes, a stopwatch that runs in a loop over a static image of graves on the Mount of Olives) the interrelationship between the work and the viewer, the slow pace of change, the sound and the duration of the projection become for me a visual prayer that replaces the act of verbal prayer, An image instead of a word. Or for example the series of photographs of the herbs in the Judean Desert "Tribute to Jackson Pollock". The relationship between the viewer and the work concerns me. In my latest works "Punctuation marks in the sentence of eternity" (2018) and "Pink Room" (2022-2023) I physically participate in the creation (performance). In my work process there is a process of trying to translate the camera's perception of the moment as a painting while emphasizing the colorful values of the landscape. I do not freeze a moment but reproduce a sequence of a segment of time from the same position of breaking down the landscape into elements in which the human figure becomes an image. Sometimes the character undergoes a kind of dehumanization and I treat her as a stain of color (I am second generation to the Holocaust. I grew up in an environment of survivors). The landscape in my works is an ideological cultural representation used to symbolize social power relations in which I examine longing, attitudes and faith in the context of sacred and symbolic landscapes.