Location: New York City, NY, USA
Medium: Paintings, Sculptures, Set Design, Production Management, Performance for Events
Contact: admin@fuguegallery.com
My practice begins with a friction between intimacy and violence, an investigation of how power is inscribed onto both bodies and materials. Working primarily with steel, found industrial objects, performance, and sound, I usually work with forms that contain imagery or resonance of control and authority- rockets, rifles, cages, cylinders. These objects have historical and political weight, yet, through material manipulation of burning, bending, rusting, and activation, I reconfigure them into fragile, unstable, and sometimes absurd forms. The material transformation becomes a timeline of events that question permanence, masculinity, and domination. It is about exposing the material’s lifeline and the vulnerability of the scars it has acquired along the way.
*Future Forward Feature My work is affected by lived experience. Growing up in Israel, where militarized technologies like rockets, surveillance systems, and weapons (Themes of advanced technologies) are seen and felt through everyday life. When a missile debris fell near my childhood home, it produced a shocking psychological and bodily awareness of how the bubble I had been living in had been popped. Rather than representing conflict narratively, my work examines how violence seeps into private space, memory, and desire; for example, how seeing people walking with rifles hanging on their shoulders as if it were a Prada bag. My Sculptural works, such as Enter the Rocket, feature large, rusted cylinders that seem like a monument in a battle between weapons, relics of pain and fear, and shelter, a cozy, quiet place to hide. The space is exactly the right size to lure the audience inside, only to suddenly be surrounded by burned characters on the walls. In Cumgun, a rifle becomes a grotesque, performative fountain, that merges erotic humor in contrast to mortality and discomfort. Through simple changes and composition, I blur distinctions between the mechanical and the organic, revealing how militarized objects infiltrate intimacy. We are living in an era that the sword is invisible but we all know it is around the corner. Protest art is what the future invites and requires.
