About

When I was a young girl I used to hang around my dad's architecture office and go through all the colored pencils, markers and rulers. I would draw on the large drafting table and my dad would give me some pointers like "draw a tree using only triangles and circles for the leaves". In my young school years, I would spend hours in my room drawing cartoons of animals and human figures and when I grew up I started developing my skills in oil painting and drawing.
My studio work spans two parallel practices, which sometimes overlap; Expressive oil painting and carbon paper mixed media works. In both, I explore the formal possibilities of pattern, brushwork, and abstraction. I usually have an abstract idea in my head, but I find that painting happens while painting. I think it’s the search that makes a good painting.  
I work on the spectrum between figurative and abstraction, I wish for the viewer to linger in front of the artwork and truly observe in order to make sense of it and to discover more and more details and layers, both visually and philosophically.

Among other things, I am influenced by Japanese art and abstract expressionism. I develop my own technique, using carbon paper and paint solvents, creating prints and mixed media collage works. The carbon paper, once a regular office supply, is turned into the work’s material. I use it in its entirety or cut it into thin layers. Some of these layers are transparent, others have a velvety texture, and others carry a graphic mark that introduces an image into the work. I glue the papers in an arbitrary manner, like the free brush strokes on a canvas. In certain places, I dissolve the ink on the paper, thus erasing the areas of the color or exposing the details on the other side of the paper. The solvent turns the ink back into its liquid state, and hence – to a color. The translucent substratum of the work makes it possible to observe the two sides of the abstract surface and discover the play of light, color, and texture. Traditionally used for creating copies, the carbon paper, in this case, is used to create one-off works of art. My monotypes and ready-made collages are made by transferring the pigment on the carbon paper onto a sheet of paper using every-day domestic items such as a steam iron or hot pots and pans. I also collect old books from the street and find images that correspond with the texture created in the print.

My oil paintings are influenced by the New York School, and Lyrical Abstraction. Nowadays, I find that my painting is speaking the same language as the carbon paper works, in the choice of colors and what I like to call a "silent intensity". I also noticed that in both mediums, I try to distance my body, whether it is with mechanical tools or a physical distance (using a long brush for instance). I believe It is my inner conflict between the deep romantic perception of the virtuoso artist and the process of letting that go, realizing the beauty of things separated from the artist's ego.