Ongoingness
The works below were byproducts of an exploration of what might happen if we thought about “forgetting” or “letting go” rather than “remembering” or “holding on” as a way to embody love.
That investigation arose from many years of grappling with the dissonance between my personal experience as a grandchild of Holocaust survivors and the way that Holocaust memorial in contemporary culture has been co-opted to attempt to justify unjustifiable violence against Palestinians.
Rekuerdo/Olvido Series
Olvido/Rekuerdo, 2025. Photograph of ephemeral collage with vegetable oil, graphite, and scotch tape on paper against gloomy-day window.
Rekuerdo/Olvido, 2025. Photograph of ephemeral painting with vegetable oil and graphite on paper against window.
Floating, 2025. Ephemeral collage with paper, sharpie, and olive oil on window.
Floating II, 2025. Composite photograph of olive oil paintings on window.
Sehora III, 2025. Composite photograph of olive oil paintings on window and gouache painting on plexiglass.
Sehora II, 2025. Composite photograph of olive oil paintings on window.
Sehora, 2025. Composite photograph of olive oil paintings on window.
Untitled (Well at night), 2025. Digitally collaged photographs of ephemeral paintings with olive oil, graphite, paper, and window light.
You are not obligated to complete the work / Neither are you free to abandon it, 2025. Composite photograph. The text reads, "No es sovre ti de akabar el trabajo / Tampoko sos livre de abandonarlo," which is a Ladino translation of a verse from Pirkei Avot.
I created these pieces by painting on newsprint with cooking oil, which makes the paper translucent. I added graphite and paper collage elements and placed the resulting “ephemeral paintings” against a backlit window and photographed them. In some cases, I then digitally layered multiple photographs, taken at different times of day, on top of each other. The text in the pieces is Ladino, my grandparents’ first language.
Monument to Forgetting
Monument to Forgetting, 2025. Gouache and oil on plywood, 96" x 24".
Detail: "Remembering/Forgetting AB," 24" x 24" section of full piece.
Detail: "Remembering/Forgetting Gretna Green Way," 24" x 24" section of full piece.
Installation view
Installation view
Installation view with pieces from Rekuerdo/Olvido series
The four panels that make up this monument are each places I have called home, drawn from memory. I emphasized the inaccuracies in my depictions as I developed the layers of the painting. The shape of the monument was inspired by Jochen Gerz and Esther Shalev-Gerz’s 1986 public installation “Monument Against Fascism.”
Transmutations
A collection of paintings playing with repetitions in identities, burials, phenotypes, and DNA across time.
Assimilation, 2025. Oil and collage on canvas, 20" x 20".
Us, 2025. Pencil, acrylic medium, and oil on panel, 6" x 6".
My Archaeopteryx, 2025. Pencil, gouache, colored pencil, and oil on panel, 12" x 12".
Archaeopteryx Fossil, 2025. Gouache, pencil, and acrylic on panel, 10" x 8".
She Grows Where She's Planted, 2025. House paint, collage, and oil on panel, 8" x 10.25".
Boy with Dragon Wings, 2025. Oil and collage on panel, 12" x 12".