CELEBRATION
TWO CHANNEL VIDEO INSTELATION. 2021
The body of the work "Celebration" is created as a tribute to Dostoevsky's first novel, Poor Folk (1846). The piece draws on imagery that may appear familiar to the viewer, almost like ghostly figures inspired by André Lefkve’s (Contemporary Dance, 2005), but these are transposed into a cold field where decay is ever-present. This approach aims to raise social and existential questions that press upon our era, focusing on the most trivial, banal, and often absurd moments of daily life—straddling the boundary between celebration and funeral. The work emerges from the issue of "the struggle to bring food to the table on your wedding day"—an endless struggle that enters a nightmarish, ritualistic realm.
untiteld
VIDEO. 2020
The subject mourns the loss of human potential. The starting point is an examination of the current state of adaptive degradation, which operates within a dreamlike apocalyptic framework and can be defined as a state of anxiety. The work casts the presence of symbol and material into a "wretched" field, raising questions about their placement within that world. Everything unfolds smoothly yet detached. Time functions as raw material, enabling the construction of a manipulative system of blockages that cannot be situated on any specific timeline or era. This video work seeks to explore the relationship between the subject and the space.
DEAR NIKO
VIDEO . 2020
This video work was created in collaboration with performance artist Nikolas Brummer. The piece features static video shots documenting the streets of Berlin in contrast to those of Jerusalem during the COVID-19 pandemic. In the background, a correspondence between the artists unfolds, carrying with it a charged and fragmented narrative.
FUNERAL MARCH
VIDEO . 2021
The work Funeral March is a 10-minute video loop that draws inspiration from European realism and cinematic models of duration-based actions. The piece presents a slow, intimate couple's dance between two anonymous figures with a significant age gap. The boundaries of the scene and the action are blurred by the unclear ages of the characters, their attire indicating a different time period, and their ambivalent, cool relationship, which contrasts with the physical warmth and closeness.
The characters are united in action, yet there is a strong sense that each remains entirely isolated within her own personal, alienated space. This distance dissipates as suspicion transforms the otherwise peaceful world into a nightmare reflecting the social reality.
THE BAD BREAST
VIDEO INSTELATION. 2018
This installation follows Melanie Klein's essay "Paranoid-Schizoid Position." According to Klein, mental pathology is, among other things, influenced by the amount of time a person spends (against their conscious will) in the paranoid-schizoid position, as opposed to the depressive position, which is considered more integrative.
A key characteristic of the paranoid-schizoid position is splitting ("schizo")—both of the self and the object—into good and bad, with no integration between the fragmented objects. Another central feature is the persecutory ("paranoid") experience of the infant, which arises when confronted with an object perceived as bad, hence the term for this position.
The work documents a familial dynamic that raises the question of the individual's identity in relation to society and the "other."
Alongside the screen, an additional video is projected, showing an androgynous chest breathing heavily, accompanied by three charcoal drawings.
