I am a visual artist who works in multiple mediums, engaging in installation, sculpture, and drawing. I am naturally drawn into creating beautiful, aesthetic and harmonious installations. I seek the right combination of colors and proportions to produce something pleasant. The very next moment, its beauty repels me; I change direction and “spoil” the work by disrupting it. The artwork still bears overt traces of beauty, but now they coincide with torn and troubling features.

After both my parents passed away, I felt the need to make artworks referring to them. I related to furniture, household items and images from my childhood home in Iran, and then in Israel, and faced significant early experiences that impacted my development. My dialogue with them was from a place of reconciliation and longing, as well as an examination of words and phrases that defined and influenced my choices.

This process generated the coat sculpture series “Aba’ima” (Hebrew: “Dad-Mom”), works such as “Persian Carpet” and “Majme”, (large Persian copper tray), as well as the wall sculpture “Gozasht” (Persian: “to give up”). In these works I use images from my family’s cultural world. They enfold contemporary significance and critical thought, touch on issues of discrimination, gender and borderlines between East and West. The work process embodies desire to rebel, on one hand and deep fondness, on the other.

Construction sites are the source of my inspiration and raw materials. Pieces of iron and fragmented wood, permeated with concrete, constitute the inceptions of my works. I also gather iron scraps from metal workshops, using them to create a type of hybrid painting/print on canvas, irrigate and nurture them daily until I see some growth and change. The rust which develops is essentially both a reflection and symbol of damage, a wound on what was beautiful and complete before its emergence. Creation takes place on the seam between control and wonderful coincidences.

I observe readymades that cross my path, stimulating a process of deconstruction and reassembly in the studio. Materials that are traditionally perceived as “masculine” are treated with practices considered “feminine craft”, as I tie, crochet, and embroider with metal wires.