In my artistic practice I rethink the mechanisms employed to construct histories and identities in relation to scientific knowledge and the presentation of information. My work is an attempt to raise questions about the limits of vision that are forced upon a subject by scientific, historical, and geographical settings.
I look at different ways in which knowledge is organized and presented in archives and museums in order to trace the roots of our (of mine) understanding of the world. Therefore it influenced by other fields of knowledge such as history, archaeology, zoology and Museology. My work hones in the arrangements themselves: what is kept where, what is being left outside in official and non official storages, what kind of connections are being made in different historical times. There are no fixed conclusions to be had from these, only materials for examination, new ways of looking at what we accept as knowledge.
My practice is based on the photographic image. I focus on a threefold relationship between the photograph, the object, and the physical body. Looking at how fragile the borders between those three are. I am fascinated by the relationship between the photographic image and the historical narrative; by the way objects embed their histories with in them and by the projections on the physical body that both objects and images creates. I find the relationship between the process of image making and the process of history writing to be intriguing. My work reconsiders such processes while also revising them. The result is photographic installations that combine objects, texts and images. Each of those combines different layers of knowledge and at times different materials and printing techniques. The goal of the installations is to confront the viewer with received ideas, while compelling him or her to reassess their own position with regard to the way information is presented to them.
Israel-Palestine, my homeland, has been a constant subject. Having spent two years away in London made it almost painfully clear that simply by defining this region (in any name I choose to give it) as my homeland, I already make use of a large number of presumptions I was born and raised into, the same presumptions that continue to construct my modes of thinking and sense of identity. In my work I try to scratch at and peel back the transparent layers of knowledge and belief that shape my mind or the mind of my interlocutor.