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Breakdown of series & Technique, over the years

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My technique is mixed-media. I integrate fine-art and industrial materials and tools: From tools typically used for building walls or floor tiles, to soft watercolor brushes, pallet knives, print rollers and metal scrapers. Acrylic paints, inks and markers are mixed with various mediums such as glazing liquid, conditioner and silicone oil, substances that impact the behavior of the pigments in unexpected ways. In the streets, I use hand cut letters and elements made with yarn, fabric, treated foam and duct-tape.

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Early works

In my time as a student, the early works ("Red Heart", 2007/8 and 2009) were naïve, minimalistic drawings. Bodies and situations, subtle yet disturbing. Figures floating in white spaces.  After graduating and over time, extra layers appeared ("Illusions & Reality", 2010-2012 and 2013),
representing the struggle to grow and resolve past, present and future. In these formative years, I practiced a slow Sisyphean process in which every piece took months. Then a change took place, and my practice shifted into a quick, dance-like ritual. ("Release", 2014-2016). These paintings were done in one continuous session, each session lasting between a day to three days of constant work, stopping only for food and short stints of sleep. 

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The Serendipity Experiment 2017-2021

Between 2017 to 2021 I was immersed in an experimental performance, together with my partner in Mind The Heart! Project. Our premise was to accept the unknown as an artistic tool, by committing fully to relinquishing control. We followed the first rule of Improv theater - SAY YES. For this purpose, we donated all our belongings, moved to live in a van  in a foreign country, and invited strangers to dictate our route, schedule, and next encounters. At each point we were sent to, we created public works, daily. What was planned for one year ended up lasting four, spanning more than 60,000 miles (100,000 km) in 48 states across the U.S.A. as well as other countries.​

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The Unimaginable Horizon 2021-2026 (ongoing)

Living on the road for four years (of which two in the pandemic), while committing to the totality which the performance necessitated, heralded another big shift in my process. Returning to a normative studio setting in late 2021 uncovered the tantalizing realization that previous inspirations and techniques now felt irrelevant. I couldn’t just pick up from where I left off. The journey had fundamentally changed the way I perceived stability, home, possessions, necessity. It altered the way I lived and subsequently, the way I created. 

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It felt crucial to allow the full breadth of my experiences to manifest directly onto the canvas, and these experiences were too expansive to fit into figurative works, such as the ones I created before. My previous areas of research, such as archetypes and mythologies, felt more like crutches than points of reference. Free from the need to adhere to one "coherent" idea or to convey a comprehensible image, an uninhibited expression was unleashed and with it, a flood of intuitive works.

 

Since the breakthrough in 2021 and to this day, I have been painting continuously. Across and places, Italy, France, China and more. These works are a form of cartography: to places familiar and unknown, to blocked paths and to new roads.​

 

Site & Time Specific

A word about the creative process unique to their making: these are 'embodied' works. Done through a sensory and deliberately spontaneous process that is akin to performance. Somatic tools are deployed to engage with my surroundings, and let the input inform artistic decisions. Large canvases are spread out on the floor while I move on top, leaving colorful traces that mark the movement through space, brushstrokes are synchronized with breathing, the sounds coming in through the window navigate the hands, colors and textures are informed by the landscape, the time of day or night, the season.

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Particles  2025- 2026 (ongoing).
 

A new, ongoing, series of very small paintings (10x10cm / 4”/4”). The inspiration for these works came from considering the behavior of cells

in an organism. Specifically the part of splitting from a larger whole and going through stages of separation, individuation, even mutation.

Each work begins as a fragment, cut from a larger foundational structure. Separated from a bigger composition, or a mother-tapestry if you will. Every such “cell” drifts away, to continue its own evolution while still carrying within it the pulse of its source. 

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Selecting and cutting away each piece I find that they already stand on their own, cohesive in their own way, but I continue to add more

and more layers: glazes, stains, lines, shapes and forms. The process of accumulating individual layers goes on until each and every piece feels endemic and complete. The end result is a fractal (of sorts), being a part of a world that contains the world: all the while separating from a unified body. These works form quiet constellations: between families of origin and distinctive individuals, whose singularity only deepens the sense of an underlying, ancient unity. And it is by establishing this tension, or rather this tentative balance, that each cell becomes itself - "Actualized" in its unique potential.