I Have Always Been Inspired by vintage and antiques. I have an unexplainable attraction to things that are old, used, and vintage; I see a history in them and am intrigued by the stories they tell.
In 2012, I moved from Tel Aviv, Israel, to London to study product design at the Royal College of Art. That move significantly influenced what I design and my creative process. Living in London meant I was exposed to a style that was different from everything I had ever known. Be it in architecture, fashion, or art, everything was very new and different. London as a city had a different vibe from Tel Aviv and everywhere else in Israel.
I was immediately taking it all in. I noticed every ornament and decoration; unlike my familiar environment, this richness was now everywhere—carved in stones and cast in plaster on building fronts, set on marble podiums in Hyde Park, adorning walls inside pubs, gracing lamp posts, and embellishing ornate gold-plated gates. Surrounded by this lavish décor, I discovered an unspoken desire to incorporate it into my creative identity.
With time, I realised this move was like a breaking point in my career; my origins and past became different from my present and future.
A Few Years Ago, I Had an Idea to repurpose ceramic decorations salvaged from antique objects. I wanted to extract the essence of decoration, breathing new life into it and shaping it into something contemporary. This concept revolves around preservation and the collective memory we hold as a society. I wanted to commemorate and celebrate objects from the past that represented beauty and luxury, with the aim of bringing them back to life.
My Process Starts with collecting objects. I collect anything that catches my eye and intrigues me: vases with ornate handles, sugar bowls adorned with raised ceramic flowers, decorated tea-spouts, porcelain figurines, hand-painted teacups, and other captivating pieces. These objects form the foundation of my work, and although I have amassed a considerable collection, there are moments when I work on a vase and feel that something is missing—a specific piece that would become the missing link to complete a harmonious composition.
Once the objects are selected, the cutting process begins—a meticulous task that requires precision and care. I use a hand-held rotary tool with a diamond-coated disc to make the precise cuts, mindful of what the end object should look like. The complexity of the cuts varies, depending on the thickness of the materials and the characteristics of the glaze.
Once the cutting is complete, I start adhering the pieces together, layer by layer, sculpting the connecting areas. Sometimes I get an instant feel to what the final shape should look like and sometimes it is a struggle. I have to let the material and the vase guide me, until I find the right design. After everything is glued together and shaped to my satisfaction I move onto finishing and sanding the object, this stage is vital as I aim for the added elements to appear as if they were always part of the original piece.
In a recent interview, I was asked to Describe Myself in Five Words, and the following came to mind: Maximalist, Floral, Organic, Nostalgic, and Feminine. These words embody the essence of my artistic identity, capturing the spirit that infuses my creations.