I find myself returning again and again to the landscape, approaching photography as a site of excavation. Through acts of abrasion, peeling photographic emulsions, and physically excavating the photographic surface, I confront the image's inherent flatness. In my installations, I seek to construct spatial landscapes and examine the ways photography occupies, shapes, and ultimately overtakes space. I am drawn to photographs that can exist independently of the wall and frame, while continually questioning the conventions of the "disciplined" photographic display - even as I sometimes choose to work within them.

Alongside these intrusive and destructive gestures, my practice also moves toward quieter transformations between photograph and object. Minor, intuitive actions guide the work, with form and the logic of installation serving as its primary forces. The process unfolds as a puzzle, asking what the necessary gesture might be to create a meaningful image. Through these subtle interventions, I attempt to uncover photography's latent layers.

My studio practice is fundamentally shaped by acts of collecting. It begins with salvaged remnants - from the physical world and from photography itself. This impulse originated in the kibbutz scrapyard and in the metal factory where my mother worked during my childhood, a place where I first experimented with dismantling and reassembling bolts, nuts, and discarded materials. Today, it continues in the darkroom, through overlooked materials in my studio that become forgotten treasures, and through photographic archives that emerge as fertile sites for excavation and gathering.

Recently, I have been working with a landscape archive left behind by my grandfather - a complex figure whose deep attachment to the land carried him between opposing political positions within Israeli society.
By scanning multiple landscape slides together, I construct new composite terrains through photomontage. This gesture allows me to work simultaneously with generations of images and with the intergenerational relationship between my grandfather and myself. Rather than making explicit political statements, I seek to examine how landscapes and narratives are constructed, allowing the images to hold ambiguity and to contain questions about representation, the politics of place, and attachment to the land.