In my work I search after the intimacy with the body in the feminist, cultural and political context.  My painting is figurative, defying, rich in color and texture, moving between realism, hyper-realism, symbolism and abstraction. I use different techniques – oil on canvas, plasticine, drawing and colors pencils - in a classical but non-conventional way. I paint myself, my clothes, my studio and friends that I invite to my studio.

In recent years I deal with my own exposure, with my emotional and bodily condition and with taking place in the world. My canvases refer to Philip Pearlstine or Lucian Freud's formalist quest but at the same time to Cindy Sherman, Jenny Saville and Tracy Emin's feminist stance.  They have a slight humor that relieves the tension from the topics I deal with, those of revealing and hiding, compulsion and breaking through, exposure and limitation.

The questions that intrigue me in my painting are decorativeness versus formalism, flatness versus painterly depth and overwork and compulsiveness versus preliminary brush strokes and expressiveness. All these symbolize to me values that touch on social issues like relationships between strong and weak, men and women. The conflict between these values symbolizes the search for the fleeting and momentary balance between these components. These manifest themselves in my Self Portrait series in the contrast between the work on the pattern and material and that of the body. In a series that portrays the falling of the cloth on the feminine breast   (Close Up series) there is a range of that varies between realism, pop and illustration as the pattern turns into an independent entity and the body disappears altogether.

In the "The Maidens in Blue" exhibit (Beit Kenner , Rishon le'Zion 2014) I chose to challenge Picasso and his canonic "Les Demoiselles d'Avignion" painting , by painting a feminist alternative to this work. Five women (friends and colleagues) agreed to pose for my work instead of his cubist forms. Placing them on my canvas in this manner protested against the way women are portrayed in art history and stated that my perspective is no less relevant than any other artist, famous as he may be.  

Nowadays I continue to work after past artists. On the one hand feminist artists such as Cindy Sherman are a source of inspiration for me (an exhibit after her work is planned for January 2016) and on the other I try to decipher codes of color and form by working after artists such as Lucian Freud. It also seems that my interest in painting as a medium that connects between the physical and the metaphysical is becoming more central in my work. The works deal with depth and flatness, with the sublime and the mundane and try to find a way to deal with a complex reality.