I am connected to a lineage of Swedish, idealistic, and feminist women who have been involved in education. They are my inspiration in their free spirit and in the handicraft tradition of do it yourself from scraps of everyday materials and other simple and inexpensive materials. My urge to do art is related to my grandmother Noni. She was born in 1922 to a Swedish mother and a German father. She lives in the desert in Israel and misses the berries in the forest. Her house is full of memory objects like books, furniture, painted lampshades, and dry leaves decorating the windows. I have memories from places I have never visited, which were given to me through my grandmother and the objects in her house. This transformative experience leads me into the desire for a seemingly impossible collaboration, between the present and the past that carries on the story while also altering it. The shared language of thought and action produces objects that in themselves are related to times and places but also wander between them, bridging and linking people who do not share the same era, yet their proximity and presence exist not only as a memory, but as a shared practice of material and conceptual continuous, changing, and forming knowledge. My project is in part an attempt to continue what I will not have disappear from the world.
The range of works I do include meticulously arranged collages and large-scale installations in various spaces: interior and exterior, a white cube or an abandoned house. The main method I use is a cutting and perforating mechanism, using all the leftovers that fall through the holes. Like a wild parody of what women traditionally do. The results are spectacular and macabre, and at the same time they are preoccupied with the disappearance of the surface. The method of surgical work, aided by scissors and a cutting knife, are on the one hand precise and reduced and on the other capricious, clinging to random things and full of the joy of invention. The objects I create are almost naked and devoid of elements of concealment and illusion. The work can be described using a DIY sequence of instructions. I use simple, inexpensive materials such as tape and various types of paper, crepe, cellophane, glossy paper and the like.