I grew up in the Carmel Mountains, where the surrounding nature and animals were an essential part of my childhood and visual development. I spent long hours wandering through the forests, observing small details and reflecting on the complex relationships between creatures and their environments. During that period, I began drawing animals I saw in books, driven by an internal desire to understand and visually replicate them.

Over time, I realized that visual imitation alone was not enough to achieve the realism I aspired to. My interest began to shift towards understanding the internal structure of animal bodies—their anatomy, movement, and the structural relationships between their parts. This awareness led me to collect bones and skulls I found during my walks, which gradually transformed from objects of study and drawing into material and spiritual components of my artistic practice.

In my current work, I do not treat bones as mere remains of a perished body, but as visual and philosophical elements that express the cycle of life and the relationship between death and nature, between form and void. Bones have become a language through which I reinterpret the body—not merely as a biological entity, but as a symbol of transformation, absence, and memory.

In the future, I seek to expand this project to include deeper dimensions that connect the individual experience with collective memory, through installations that use bones, natural materials, and personal archives. I aspire to create spaces where the sensory meets the conceptual, where the body becomes a site for contemplating the relationship between humans and nature, between presence and absence, and between matter and spirit.