My intention was to expand the canvas of representation by planning an Israeli holocaust memorial that would not reproduce or reinterpret the familiar approaches and gestures of existing holocaust memorials in the country. I wished not to impose any ever present, top-down narrated memory, and wished not reflect the atrocities and genocide; rather, I wished to bring onstage fractions of memories from individual victims and their lives, and fortify these memories by accompanying architectural performance. My experimental memorial consists of both tangible objects such as flora and rusty steel, in combination with intangible elements such as light, shade, colour, smell and ambience. The effort was made to produce a coherent phenomenological experience: a place and space where the cultural aspects are derived from the sensory perspective of the built environment.
Most of my artistic work is situational. I work mostly with light, - light touching, form and space. This has resulted in a number of «light installations» interior and exterior. I work mainly with site based ideas; content and character.
Materials are chosen according to the idea and in relation to the site.My choice of materials is unlimited;anything from traditional materials to building- or natural materials.
The light can be natural or a variety of artificial light.
The situations can be either small or large but always with one or another form of energy.My main focus is on relativity of space/form/light with a versatility.
Light and space relativity is common to all my works.
I am fascinated by light, yet not necessarily limited to the colour white whenever the situation requires something else.
Contemporary Commemorative Architectural Representation of the Holocaust in Israel
We are nowadays nearing the unique moment in time, since the end of WWII, when the final holocaust survivor passes away. Alongside with the demise of the last survivor, we will lose any possibility for a tangible, first-hand human connection to this major historic event. Our memory balance would necessarily shift from the “possibly personal” to the “inevitably collective”. My thesis digs exactly into the relations and tension between the personal and the collective memories of the holocaust. In my work I try to offer a possible answer to the question of how this changing reality should contextualize a new holocaust-related discourse in Israel, and how it would in-turn affect its commemorative architectural representation.