In a world that is flooded with images and with paintings, I am interested in creating a process and time-based painting experience, that cannot be fully translated via digital media, the opposite of an “Instagram” image. The painting-installations that I started developing in the last two years are made by rolled scrolls that are not fully open while exhibited, and that adopt specifically to the space where they are shown, encapsulating endless possibilities of scale and width.
In 2010 I began working on large-scroll paintings, and since 2016 I started exploring the form of painting installation, in which unstretched scrolls of paintings create a three-dimensional, overlapping experience for the viewing audience. Instead of standing in front of a painting, the visitors step into one. The scrolls can hang from ceiling to floor, surrounding the gallery, leading the viewers into a unique visual world that presents the challenging painting process and reveals its complexity and beauty.
In the studio I am using common, unpoetic materials as plastic sheets and bubble wraps, that are often often used to coat and protect art objects. I cover the wet surface of the canvas with them, while they “suffocate” the richness of the colors, and imprint their own textures. Once peeled off, they create a “ghostly appearance”, a silent witness to a procedure that was left “out of the picture”.
This method of painting centers on the idea of “control and release”, in which I balance between my role as the creator, and as a collaborator with the painting materials. While an ongoing process of change stems, the composition is set free, and I let the painting lead the way and almost “create itself”. Later on, and in the specific space, I decide how the painting will be exposed to the public.