The Well. 2002. A Video Installation Documentation.
A projection of a drowning woman on the water surface inside an old well. The audience only viewpoint is by looking through the hole of the well cover.
"....Our Two Lips....". 2003. A Video Projection. 01:49 Minutes Loop ( 00:49 Minutes Preview ).
A work in the spirit and tongue of Luce Irigarai. A work on tongue of flesh and mind. A work on sexuality and language. A work on two lips of speech, of kiss and of vagina. A work on feminine discourse, a speech of love.
The Eye Voyage.. 2004. A Video Installation Documentation.
The work consists of an old cupboard into which the spectator enters and walks through a narrow dark corridor. At its end he reaches a wall with a small hole in the shape of an eye. When he peeps through he discovers a night view of a moon shining on a purple sea.An eye-boat is sailing on the water towards him. Along the boat\eye voyage the eye loses its vitality, until total oblivion.
The Pipe. 2004. A Video Installation Documentation.
A video projection inside a six-meter metal pipe. An image of a woman is trying to escape from her position/prison- fate and moves forward. The harder she tries the more she loses her vitality, until her total oblivion. The tunnel of escape and shelter is also a birth channel. The young woman within the pipe is fleeing from some threatening danger and envelopes herself in a "womb".
The Pool. 2005. A Video Installation Documentation.
A video projection of an enchanting pool surrounded by natural dry leaves. The pool undergoes transformations of time and weather until an enigmatic figure emerges from within the water.
The pool that reflects the time changes simultaneously embodies the secrets of life and creation along with death and decay. This installation relates to Bialic's Poem ’The Pool’ while keeping its organic mythic entity and linking it to the multicultural fairy-tale traditions; however, the latter become a personal experience of metamorphosis.
The Magic Box. 2006. A Video Installation Documentation.
The spectators enters a space through a red velvet curtain. He encounters a video projection on the floor and over a black wooden box. A magic box of swords and death is turning into a boat of resurrection.
Paper Tiger. 2007. A Video Projection.
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The work opens as a nature documentary movie, in which a Cheetah is seen during a hunt. As the hunt proceeds towards its inevitable end, the video is gradually slowing down, losing its saturation, until a complete freeze on the final frame where the deer completely surrenders. the image begins to change and darkens, as though closing in around the Cheetah, while the animal is undergoing a metamorphosis to become an Origami paper-tiger. A pair of hands appears in the frame, holding the paper-tiger and unfolding it to a flat piece of paper. When only the creases of the paper record the Cheetah, the hands push-pin it on to the wall.
The Station.. 2009. A Video Projection.
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Rails crosses the image. A train is approaching. The frame is filled with its smoke. As it passes through, a woman figure emerges from the fading smoke. She is digging in the sandy ground. While digging all of the sudden water starts gushing out from the hole covering the ground. When it finally settles inside the boundaries of the rails, it transforms into a small river. The rails wooden boards also transform and become a raft. The woman is climbing on it and sits down while the raft is sailing away toward its new unknown journey.
Nautilus. 2010. A Video Installation Documentation.
Three large simultaneous projections. The first on the left shows a black big entrance to a cave. from time to time a twinkle of light is flashing out towards the spectator. The second projection shows a Nautilus shell emerges from under the sand to the surface. A female figure appears, slowly crawls her way out. The third projection shows a huge wave endlessly curling into itself. A change appears when in the second (main) projection the female figure reaches the entrance of the shell. Then, the image fades out and appears again in front of the open sea while the figure is listening to a shell. At the same time a harsh blinding light reveals itself on the other two screens, and gradually whittens out the images until they fade out.
The Goat Herdsman. 2011. A Video Projection.
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Jaffa sea-shore. Night. A priestess lights stars in the sky in the shape of a goat. A herd of goats, wearing sun-rays around their necks, crosses the shore. A dream-like paraphrase on Nahum Gutman's Israeli painter 1927 painting, "The Arab Goats Herdsman”.
The Tragos Series. 2012. A Video Installation.
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The work is consisted of three large simultaneous projections. The first on the left shows an image of a mysterious feminine figure, a goat-mask on her face, standing in sea-water while salting the waves. The second projection is a variation on a passage from "La Horle", a short story by Guy De Maupassant: two goat-masked feminine figures are being led to the unknown by a faceless herdsman along the sea shore tides. The third projection on the right shows a nightly panorama of Jaffa sea, occasionally crossed by a small herd of goats adorned with star-like golden necklaces.A ritualistic video-trilogy about mythological powers of fate and sacrifice and about time (night) and place (sea) where sun and "tragos" unite in an existential cycle.
Little Hans Four Horseman. 2013. A Video Projection.
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The screen is misty, something between fog and black-and-white pixels ‘snow’. A low monotonous and mysterious sound is heard, while a horizon-line is slowly appearing. Are we watching a desert and sky, a snowstorm, a sea? Slight bursts of colors quickly fade into black-and-white, returning to the misty semi-abstracted blurred view. From within the distance there moves up towards us an undefined entity. Is it an island, a ship, human figure? Gradually the entity (often fading and blurred into the surrounding) is nearing only to be identified as a horse with a face-less she-rider. A ray of white light glitters from the horse's forehead. Parallelly, appearing from the distance - one after the other, in and out of focus - another three women-riders, each being specified by a different color - green, black, red, white. Rays of white light shine from all the horses' foreheads like horns. The four faceless riders gallop towards the camera until they fill the screen. Being face-less, the tricky-evasive-ambivalent landscape keeps on being seen through them, until the four riders disappear into nothingness which will be followed by a new start of the loop.