I am a London based visual artist, educator, and cultural events producer.
I am interested in writing. Specifically handwriting as a form of drawing. The line that traced the internal thought, mediated through the body, language transformed into a physical presence. Exploring the potential contained within the line, and how even when writing collapses and becomes illegible, it still calls to be read. This interest is informed by my Jewish heritage, a tradition that values scholarly word-play and textual interpretations as religious acts. Handwriting is my method of grappling with the patriarchal authoritative texts of the tradition, taking them in hand as a feminist critique.
I often use a traditional Rabbinic text as a starting point, using my fine art practice to engage with a written tradition. Forming a relationship between between printed text, handwriting and drawing. My interest in handwriting as drawing has led to explorations in touch, embodied language, the affect of the illegible trace, and the aura of absence. My work shifts between representational to abstraction as I consider the emotional potency of ambiguity.
Through my experience as an artist working with Jewish texts and heritage I have worked with other artists and projects. I have acted as a consultant to film, theatre and dance productions. Advising them on the Jewish content in the work, and sharing relevant traditional texts to enhance their knowledge. And on occasion, checking for any unconscious insensitivities around antisemitism and how Jews are portrayed. I have also acted as Jewish educator/facilitator to the wider company, so that everyone involved in the artistic project is able to be full participants, irrespective of their previous knowledge or experience.
I initially trained as an architect, and then went on to study to be a medical illustrator - learning anatomy and precise observational drawing along the way. But I got distracted by fine art, and its potential to develop and express ideas through making. I use a variety of craft based techniques in my work including embroidery, paper-cutting, dressmaking, book-binding, as well as drawing, printmaking, painting, and animation. These process are meticulous in detail. The mind is thinking differently when the hands are busy making, and I am interested in how the physical materiality of the work affects abstract thought. I have also deliberately chosen stereotypical feminine crafts to investigate how art can appropriate and subvert patriarchal traditions. The creative tension between my feminism and my ethnic, religious identity has been a key component of my practice.
I have exhibited my artwork in London, Jerusalem, Tel Aviv, New York, San Francisco, Venice, Warsaw and Krakow. Recent residencies include Beit Veniza, and the Centre for Jewish Studies at Manchester University. I have an MA in Fine Art from Central Saint Martins.
I am interested in writing. Specifically handwriting as a form of drawing. The line that traced the internal thought, mediated through the body, language transformed into a physical presence. Exploring the potential contained within the line, and how even when writing collapses and becomes illegible, it still calls to be read. This interest is informed by my Jewish heritage, a tradition that values scholarly word-play and textual interpretations as religious acts. Handwriting is my method of grappling with the patriarchal authoritative texts of the tradition, taking them in hand as a feminist critique.
I often use a traditional Rabbinic text as a starting point, using my fine art practice to engage with a written tradition. Forming a relationship between between printed text, handwriting and drawing. My interest in handwriting as drawing has led to explorations in touch, embodied language, the affect of the illegible trace, and the aura of absence. My work shifts between representational to abstraction as I consider the emotional potency of ambiguity.
Through my experience as an artist working with Jewish texts and heritage I have worked with other artists and projects. I have acted as a consultant to film, theatre and dance productions. Advising them on the Jewish content in the work, and sharing relevant traditional texts to enhance their knowledge. And on occasion, checking for any unconscious insensitivities around antisemitism and how Jews are portrayed. I have also acted as Jewish educator/facilitator to the wider company, so that everyone involved in the artistic project is able to be full participants, irrespective of their previous knowledge or experience.
I initially trained as an architect, and then went on to study to be a medical illustrator - learning anatomy and precise observational drawing along the way. But I got distracted by fine art, and its potential to develop and express ideas through making. I use a variety of craft based techniques in my work including embroidery, paper-cutting, dressmaking, book-binding, as well as drawing, printmaking, painting, and animation. These process are meticulous in detail. The mind is thinking differently when the hands are busy making, and I am interested in how the physical materiality of the work affects abstract thought. I have also deliberately chosen stereotypical feminine crafts to investigate how art can appropriate and subvert patriarchal traditions. The creative tension between my feminism and my ethnic, religious identity has been a key component of my practice.
I have exhibited my artwork in London, Jerusalem, Tel Aviv, New York, San Francisco, Venice, Warsaw and Krakow. Recent residencies include Beit Veniza, and the Centre for Jewish Studies at Manchester University. I have an MA in Fine Art from Central Saint Martins.
