1. You often operate between the worlds of art, science, and mathematics. Do you see yourself primarily as an artist using science, or as a scientist speaking through art?
I don’t look for a fixed definition. Labels can limit what the work can become, so I prefer to keep things open. The work should speak for itself. For some, it is science; for others, mathematics or art. This openness defines how our studio operates, with many minds in conversation. My partner Yifat and I work together on ideas, both intellectually and emotionally. The love, respect, and differences we bring create both depth of emotion and mathematical unity in the work. I like to believe that art and science in the work coexist in a state of balance.
I don’t look for a fixed definition. Labels can limit what the work can become, so I prefer to keep things open. The work should speak for itself. For some, it is science; for others, mathematics or art. This openness defines how our studio operates, with many minds in conversation. My partner Yifat and I work together on ideas, both intellectually and emotionally. The love, respect, and differences we bring create both depth of emotion and mathematical unity in the work. I like to believe that art and science in the work coexist in a state of balance.
2. How has academic thinking and teaching influenced your artistic language and your discipline as a practitioner?
My engineering background taught me to operate creatively within the bounds of mathematical rigour. This influences how I see form—not as something fixed, but as something that can be transformed within the fundamental laws of physics. I also grew up in a family where artistic expression was central. My mother was a drama teacher who encouraged creativity and freedom of expression, which shaped my childhood. This taught me the value of lived experience, emotional intelligence, and intellectual discipline. Remaining engaged with academic institutions has helped me sustain this discipline. Working with researchers keeps the work connected to contemporary thought, rather than isolated within the art world. I am particularly interested in the fact that my work is often cited in academic literature, as it suggests that the ideas resonate beyond the field of art. Working with Yifat, an academic with a PhD in education, has further enriched this dialogue, allowing us to challenge and expand each other’s perspectives.
My engineering background taught me to operate creatively within the bounds of mathematical rigour. This influences how I see form—not as something fixed, but as something that can be transformed within the fundamental laws of physics. I also grew up in a family where artistic expression was central. My mother was a drama teacher who encouraged creativity and freedom of expression, which shaped my childhood. This taught me the value of lived experience, emotional intelligence, and intellectual discipline. Remaining engaged with academic institutions has helped me sustain this discipline. Working with researchers keeps the work connected to contemporary thought, rather than isolated within the art world. I am particularly interested in the fact that my work is often cited in academic literature, as it suggests that the ideas resonate beyond the field of art. Working with Yifat, an academic with a PhD in education, has further enriched this dialogue, allowing us to challenge and expand each other’s perspectives.
3. Anamorphosis disrupts habitual ways of seeing. What matters more to you, the moment of misperception, or the instant when the image suddenly resolves itself?
Viewers often focus on the moment when the anamorphic image resolves, frequently overlooking the physical object itself. This reveals how the process becomes secondary to the image. Historically, anamorphosis was not only about illusion but about questioning perception itself. My work reflects the human tendency to search for recognition and narrative. We are drawn to the moment when confusion resolves, yet we often miss the complexity of what precedes understanding. The sculpture seeks to bring that habit into awareness.
Viewers often focus on the moment when the anamorphic image resolves, frequently overlooking the physical object itself. This reveals how the process becomes secondary to the image. Historically, anamorphosis was not only about illusion but about questioning perception itself. My work reflects the human tendency to search for recognition and narrative. We are drawn to the moment when confusion resolves, yet we often miss the complexity of what precedes understanding. The sculpture seeks to bring that habit into awareness.
4. Many of your works exist fully only from a specific point of view. Does this suggest that truth in art is always dependent on the position of the observer?
It may suggest that, but I am equally interested in the opposite. While the perceived image depends on the viewer’s position, the work itself exists independently of observation. The anamorphic image is a discovery, not the primary focus. In later stages of my practice, I am increasingly interested in presenting works without mirrors or fixed viewpoints. Such an approach would emphasise the object itself, encouraging viewers to engage with what is materially present rather than only with the resolved image.
It may suggest that, but I am equally interested in the opposite. While the perceived image depends on the viewer’s position, the work itself exists independently of observation. The anamorphic image is a discovery, not the primary focus. In later stages of my practice, I am increasingly interested in presenting works without mirrors or fixed viewpoints. Such an approach would emphasise the object itself, encouraging viewers to engage with what is materially present rather than only with the resolved image.
5. You frequently work with the human body, the face, and the notion of presence. Is this an exploration of physical form, or an attempt to capture something immaterial?
The physical form is a point of departure. The body is the point at which the material and immaterial converge. Faces and hands are central to this investigation. The eyes and micro-expressions offer insight into interior states, while the hands carry a direct and tactile connection to human presence. Together, they form a bridge between the visible and the intangible.
6. How have contemporary technologies and computational methods transformed the possibilities of sculpture compared to what was achievable 20 or 30 years ago?
My work is intrinsically linked to contemporary technology; these sculptures could not have existed in earlier periods. Just as early artists worked with the materials available to them, artistic practice has always evolved alongside its tools. A defining historical moment was the Italian Renaissance, when developments in perspective transformed visual representation. Figures such as Brunelleschi and Masaccio introduced systems that redefined spatial organisation, fundamentally altering how reality could be depicted. Today, computational design and digital fabrication allow sculpture to reach new levels of precision and complexity, combining mathematical principles with advanced technological processes.
My work is intrinsically linked to contemporary technology; these sculptures could not have existed in earlier periods. Just as early artists worked with the materials available to them, artistic practice has always evolved alongside its tools. A defining historical moment was the Italian Renaissance, when developments in perspective transformed visual representation. Figures such as Brunelleschi and Masaccio introduced systems that redefined spatial organisation, fundamentally altering how reality could be depicted. Today, computational design and digital fabrication allow sculpture to reach new levels of precision and complexity, combining mathematical principles with advanced technological processes.
7. In a world where artificial intelligence and algorithms increasingly participate in creative processes, how do you define the role of the human creator?
Humans bring intention, judgment, and responsibility. Algorithms can generate form, but they do not determine meaning. Meaning ultimately remains a human decision. Art, in its essence, is connected to human experience. Artists have always engaged with new tools, but the voice behind the work must remain human. The challenge is to use technology in a way that strengthens, rather than diminishes, that presence. In our studio, technology is always in service of expression, not its substitute.
Humans bring intention, judgment, and responsibility. Algorithms can generate form, but they do not determine meaning. Meaning ultimately remains a human decision. Art, in its essence, is connected to human experience. Artists have always engaged with new tools, but the voice behind the work must remain human. The challenge is to use technology in a way that strengthens, rather than diminishes, that presence. In our studio, technology is always in service of expression, not its substitute.
8. Do you believe that contemporary art has a responsibility to be intellectually demanding, or should it strive instead for emotional immediacy?
Art must establish a connection with the viewer. I strive for my work to achieve this. In a time shaped by immediacy, that initial point of engagement is essential. From the dramatic intensity of Baroque painting to the clarity of modern abstraction, artists have always sought to capture attention. That first moment of connection is what allows a viewer to access deeper layers of meaning. However, immediacy alone is insufficient. The work must also sustain prolonged engagement. The most compelling works use emotion as an entry point into deeper reflection.
9. What matters more to you in a viewer’s response, an understanding of the process, or an emotional reaction?
The emotional response comes first. Every work requires a genuine connection to the artist’s intent; without it, the result risks becoming purely technical. That initial reaction draws the viewer in. At the same time, the process remains fundamental. Craftsmanship, time, skill, and the artist’s touch all contribute to the depth of the work. For some viewers, understanding the process enhances the emotional experience. Ultimately, both elements are essential: one invites engagement, the other sustains it.
The emotional response comes first. Every work requires a genuine connection to the artist’s intent; without it, the result risks becoming purely technical. That initial reaction draws the viewer in. At the same time, the process remains fundamental. Craftsmanship, time, skill, and the artist’s touch all contribute to the depth of the work. For some viewers, understanding the process enhances the emotional experience. Ultimately, both elements are essential: one invites engagement, the other sustains it.
10. Your work requires extreme mathematical precision, yet the final result often feels almost poetic. Where do you locate the boundary between formula and intuition?
For me, precision is not opposed to poetry; it enables it. Mathematics defines the conditions under which intuition can operate. The formula sets the conditions; intuition gives it life. This is something artists have always understood, from the proportional systems of classical sculpture to the development of Renaissance perspective. Intuition, however, is often shaped through dialogue. Yifat’s narrative-driven and emotional sensibility informs the process, helping determine where to stop, what to emphasise, and what to leave unresolved. That negotiation, grounded in mutual trust, shapes both the discipline and the poetic dimension of the work.
For me, precision is not opposed to poetry; it enables it. Mathematics defines the conditions under which intuition can operate. The formula sets the conditions; intuition gives it life. This is something artists have always understood, from the proportional systems of classical sculpture to the development of Renaissance perspective. Intuition, however, is often shaped through dialogue. Yifat’s narrative-driven and emotional sensibility informs the process, helping determine where to stop, what to emphasise, and what to leave unresolved. That negotiation, grounded in mutual trust, shapes both the discipline and the poetic dimension of the work.
April 9, 2026
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