Moving Image
Born from Sea and Cloud
Stop motion animation
March 2020
Sound in collaboration with Florian Lutz.
This animation work is a first installment in a series “Memories of a Stone”, which interrogates questions of memory. This series deals with the memory and myth of Tel Aviv, which is referred to as the White City and that has often whitewashed its narrative from the traces of other histories.
Presented in the Rietveld Uncut festival, Relating (to) Color.
Stop motion animation
March 2020
Sound in collaboration with Florian Lutz.
This animation work is a first installment in a series “Memories of a Stone”, which interrogates questions of memory. This series deals with the memory and myth of Tel Aviv, which is referred to as the White City and that has often whitewashed its narrative from the traces of other histories.
Presented in the Rietveld Uncut festival, Relating (to) Color.
What's Gone is Gone
Stop motion animation
July 2020
As part of the series “Memories of a Stone”, this work treats the uncanny feeling that darker memories hide under the surface. It depicts stones, as a symbol of memory. The stones exhibit the feeling of remembering a whole history while never revealing it. The stop motion animation technique is used to extract this element of time. Under the stones, maps of the old city appear and slowly take over, only to be overcome by another grid.
Stop motion animation
July 2020
As part of the series “Memories of a Stone”, this work treats the uncanny feeling that darker memories hide under the surface. It depicts stones, as a symbol of memory. The stones exhibit the feeling of remembering a whole history while never revealing it. The stop motion animation technique is used to extract this element of time. Under the stones, maps of the old city appear and slowly take over, only to be overcome by another grid.
What's Gone is Gone (2)
Stop motion animation
June 2020
In this work, part of the series “Memories of a Stone”, sound plays an important role. A voice of an elderly woman, my grandmother. She is telling a personal story, explaining how she cuts herself out of photos in which she finds her appearance displeasing. Her story is becoming a representation of the raising awareness to the repression of the memory.
Stop motion animation
June 2020
In this work, part of the series “Memories of a Stone”, sound plays an important role. A voice of an elderly woman, my grandmother. She is telling a personal story, explaining how she cuts herself out of photos in which she finds her appearance displeasing. Her story is becoming a representation of the raising awareness to the repression of the memory.
A Day Trip
Stop motion animation
December 2018
The video is part of a series “Day Trip”, inspired by the sensual experience of the excursion. The series consists of three animation videos of stones going through different transformations. Different images appear on the stones, going through metamorphosis and create an interior dialogue between the physical object and all its possibilities, until it almost becomes an “anti-stone”, a soft, abstract, liquid image, and back again to a solid, hard stone. The fluid objects are changing layers and patinas, letting the stones tell their stories and share their memories.
Stop motion animation
December 2018
The video is part of a series “Day Trip”, inspired by the sensual experience of the excursion. The series consists of three animation videos of stones going through different transformations. Different images appear on the stones, going through metamorphosis and create an interior dialogue between the physical object and all its possibilities, until it almost becomes an “anti-stone”, a soft, abstract, liquid image, and back again to a solid, hard stone. The fluid objects are changing layers and patinas, letting the stones tell their stories and share their memories.
A Day Trip (2)
Stop motion animation
December 2018
Stop motion animation
December 2018
There's a Crack
Video installation
May 2019
This work was made in collaboration with Tara Kuijpers.
A stop motion animation created from organic matter and natural pigments, constantly changing and transforming. The animation is projected onto clay and fabric statues that stand and hang around the space. These ever-changing images cling onto the statues like skin, producing a deeply immersive and intimate environment. The irregular distribution of the statues in the space forces the viewers to walk among them, making this experience another excursion in a mysterious realm.
Video installation
May 2019
This work was made in collaboration with Tara Kuijpers.
A stop motion animation created from organic matter and natural pigments, constantly changing and transforming. The animation is projected onto clay and fabric statues that stand and hang around the space. These ever-changing images cling onto the statues like skin, producing a deeply immersive and intimate environment. The irregular distribution of the statues in the space forces the viewers to walk among them, making this experience another excursion in a mysterious realm.
Works on paper
Hauntology
Ink on paper, glass 17*24 cm
A detail from an etching series
June 2020
These prints are inspired by family photos from which a person was removed. The glass reframes a new image and draws attention to what is included in the frame and what’s not.
Ink on paper, glass 17*24 cm
A detail from an etching series
June 2020
These prints are inspired by family photos from which a person was removed. The glass reframes a new image and draws attention to what is included in the frame and what’s not.
Hauntology no. 2
Ink on paper, glass 17*24 cm A detail from an etching series June 2020
These prints of landscapes are inspired by a silhouette of a family photo from which a person was removed. A dreamy landsacape apears instead of the missing part.
The glass reframes a new image and draws attention to what is included in the frame and what’s not.
Ink on paper, glass 17*24 cm A detail from an etching series June 2020
These prints of landscapes are inspired by a silhouette of a family photo from which a person was removed. A dreamy landsacape apears instead of the missing part.
The glass reframes a new image and draws attention to what is included in the frame and what’s not.
Hauntology no. 5
Ink on paper 17*24 cm
A detail from an etching series
June 2020
Ink on paper 17*24 cm
A detail from an etching series
June 2020
Hauntology no. 3
Ink on paper 17*24 cm
A detail from an etching series
June 2020
Ink on paper 17*24 cm
A detail from an etching series
June 2020
Hauntology part 2 no. 1
Ink on paper, 17*24 cm A detail from an etching series July 2020
These prints of landscapes are inspired by a silhouette of a family photo from which a person was removed. A dreamy landsacape apears instead of the missing part.
Ink on paper, 17*24 cm A detail from an etching series July 2020
These prints of landscapes are inspired by a silhouette of a family photo from which a person was removed. A dreamy landsacape apears instead of the missing part.
Under a Stuffed Bear no. 4
Screen print and aquarel on paper 25*27 cm
November 2018
Screen print and aquarel on paper 25*27 cm
November 2018
Under a Stuffed Bear no. 1
Screen print on paper
November 2018 60*35 cm
Screen print on paper
November 2018 60*35 cm
Human Marks no. 4
Indian ink on paper 40*60 cm
A detail from a series
December 2017
A large-scale painting series, consisting of images depicting bodies that are blaring and losing form.
The figures, Life size, are asking the viewer to stand directly in front of their eyes and observe.
Indian ink on paper 40*60 cm
A detail from a series
December 2017
A large-scale painting series, consisting of images depicting bodies that are blaring and losing form.
The figures, Life size, are asking the viewer to stand directly in front of their eyes and observe.
In Between Us no. 6
Indian ink and aquarelle on paper, 20*7 cm
A detail from a series
October 2018
Indian ink and aquarelle on paper, 20*7 cm
A detail from a series
October 2018
A Self Portait as the Real Me
aquarelle, acrylic paint and indian ink on paper, 30*23 cm
October 2018
aquarelle, acrylic paint and indian ink on paper, 30*23 cm
October 2018
A Portait with Two Potatos
aquarelle on paper 23*30 cm
March 2018
aquarelle on paper 23*30 cm
March 2018
A Study of Viviane no. 3
Indian ink and aquarelle on paper 15*13 cm
A detail from a series
May 2017
Indian ink and aquarelle on paper 15*13 cm
A detail from a series
May 2017
Rimbaud, Eyes Open
Indian ink, acrylic paint, aquarel on paper 30*35 cm
October 2019
Indian ink, acrylic paint, aquarel on paper 30*35 cm
October 2019
A Memory from a Tea Room
Pencil and aquarel on parer,
22*20 cm November 2017
Pencil and aquarel on parer,
22*20 cm November 2017
Holidays
Aquarelle and pencil on paper, 30*38 cm
September 2018
Aquarelle and pencil on paper, 30*38 cm
September 2018
Holidays no. 2
Aquarelle and pencil on paper, 30*38 cm
September 2018
Aquarelle and pencil on paper, 30*38 cm
September 2018
Performances
The Crystal Palace
January 2019
In this performance work stop motion animation and documentary footage, were projected on my body, to guide viewers through a story inspired by the immigrant sweatshop culture of the Lower East Side of NYC. I am fascinated by the roll of the guide as a host and storyteller. I tried to display this fascination by using a Yiddish poem of a poet/sweatshop worker from the 1920’s. In this “tour” I tried to convey the experience of the city as a sensual bodily one, as if the city was being etched on one’s skin.
January 2019
In this performance work stop motion animation and documentary footage, were projected on my body, to guide viewers through a story inspired by the immigrant sweatshop culture of the Lower East Side of NYC. I am fascinated by the roll of the guide as a host and storyteller. I tried to display this fascination by using a Yiddish poem of a poet/sweatshop worker from the 1920’s. In this “tour” I tried to convey the experience of the city as a sensual bodily one, as if the city was being etched on one’s skin.
Must See
This online performance was developed in reaction to the Coronavirus measures that were put in place (March 2020), and is using the app put out by the Rijksmuseum at that moment.
This performance focuses on the idea of the tour as an artistic gesture, using the experience of a group in a museum to raise questions of originality, power structures, the glorified and the discarded.
The museum’s app allows viewers to visit only one corridor, reducing the wealth of the museum to a straight-line, linear narrative, which is focused on the Dutch Golden Age. In that sense the experience is a metaphor for the national narrative the museum promotes.
The online tour guide is using her position to control the viewers’ attention and navigate their gaze. Physically examining the tension between the seen and unseen.
This online performance was developed in reaction to the Coronavirus measures that were put in place (March 2020), and is using the app put out by the Rijksmuseum at that moment.
This performance focuses on the idea of the tour as an artistic gesture, using the experience of a group in a museum to raise questions of originality, power structures, the glorified and the discarded.
The museum’s app allows viewers to visit only one corridor, reducing the wealth of the museum to a straight-line, linear narrative, which is focused on the Dutch Golden Age. In that sense the experience is a metaphor for the national narrative the museum promotes.
The online tour guide is using her position to control the viewers’ attention and navigate their gaze. Physically examining the tension between the seen and unseen.