Demon Sealers

Demon Sealers is an animation film featuring reproductions of historical drawings. The work
re-examines a corpus of demon illustrations drawn, usually by women, in Mesopotamia over 1500 years ago. The images appear at the bottom of ceramic bowls referred to as incantation bowls.

the demon drawings are placed in a contemporary, digitally rendered 3D world. the video shows its protagonists in a nihilistic and existentialist world. The video follows the journey of a demon called L and her detective companion, as they try to solve the mystery behind the disappearance of members from their community, ostensibly from human activities. The video inverts the historical anthropocentric narrative of demon sealing, instead placing the demons as the protagonists of the story.


“Farhud” (from Arabic: looting, rubbery), a series of pogroms perpetrated against the Jewish population in Iraq 1941.

The video explores the only photographic representation of this traumatic event.

winner of Jerusalem film festival 2019–The Ostrovsky Family Fund Award

Hurricane 901

Hurricane 901 is a video project, which examines
the symbiotic relationship between spectacle in show business and that of war, terror and trauma. Speaking in front of smoke machines, is an event that does not fit the usual models of testimony, re- enactment, dramatic monologue  and performance but tries to blur between them.

Sa La Ma

This work presents sculptures of founding figures in Israeli Zionist history. They are located in center of Kfar Shalem’s neighborhood in Tel Aviv and their faces were vandalized.

‘Kfar Shalem’ was built on the ruins of the Arab village, ‘Salama’, from which the residents were expelled during the1948 war.

The sculptures are part of the foundation of the ethos that stands in stark contrast to the history
of this village. The text is taken from testimonies
of people who were expelled from the village Salama.

Slowly dying

The work conducts a renewed encounter with
a Textual source, undermines its exclusiveness, challenging his prior credibility and offers new conditions for the emergence of the hidden or potential elements repressed in it Textual elements, associated with the Yom Kippur War such as:
places, concepts and identities, are deleted from the protocols depicting wartime cabinet meetings.
The text remains, without any addition of words, and keeps the chronological succession of the protocol, then reassigned into the spectacle. Now the text is different, copied into the new frames belonging to the audition and the conventions of popular culture and entertainment establishments.
The actress in the audition offers a speculative and dramatic interpretation of Golda Meir’s part in the protocols. What is taking place is a functional media event, apparently coherent, examining the possibility of documentation, its boundarie and status.
The event does not create sense, it neutralizes the trauma, and eliminates any content. Thereby the message of the performative medium collapses and loses control.