As a child I was never allowed to go on school trips. Being an only child to survivors of the holocaust, my parents were so protective, fears that something would happen to their son. Like others who had survived the holocaust, my father and mother never told me about what they had gone through so I always had a strong feeling that my home is full of secrets. Often I would listen through the keyhole to their conversations and would hear about the long walk they were forced to make barefoot in the snow, or about the threatening dogs set upon them by the Germans. Only recently had I started to think that perhaps I am painting my father’s anguished face, and that the reoccurring images are a sublimation of the repetitiveness of the holocaust images that I had been carrying around in my mind from an early age.
I have always been interested in a relationship between construction and deconstruction. In my early works I painted colorful compositions in oil on canvas, in the cubistic spirit. I later began exploring the other side of creation and started to destruct the surface. I am working on cork boards, using a wood scorching pen, screwdrivers and hammers, I scratch, tear and burn the surface by splashing wine, ketchup, mud or iodine on it. The work is done without thought, an intuitive process, instinctual, which embodies an attempt to release control. Only at the end does my unconscious content emerge, and I often contemplate its meaning only after reading the interpretations given by art critics.
Each work induces a journey beginning with intuitive unruly desecration, somehow exposing the subconscious and indelible marks of second generation Holocaust survivors.
This force turns towards revealing the beauty within the ugliness and abomination, creating an emotion full of anticipation for a better world. Hinting at man's strength, belief and will to create wholeness, a normal and full life, my works are an expression of hope in the face of chaos.
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