
El, 2025, wood, 70x450x420 cm approx.


The forms tend to slump or sink. They don’t aspire to anything. Some are half-made; some look like they’re in the process of giving up. I’ve learned not to see this as failure. In fact, I’m beginning to suspect that the appearance of collapse is one of the few honest gestures a sculpture can make now. Everything else feels like performance.
The relationship between me and the object is not collaborative, exactly. It is more like a negotiation between two introverts at a party. I ask the wood to become something. It doesn’t answer. I insist. It resists. Eventually, we reach a compromise—an asymmetrical form that neither of us particularly likes, but which we both agree not to destroy. This is what I call a finished work.
The objects are now here. They exist. They persist. They outlast the thoughts I had while making them, which were contradictory anyway. In the end, what I want is simple: to make something solid in a world that increasingly isn’t. Not meaningful, not symbolic—just solid. Something to stub your toe on in the dark. Something that won’t follow you, won’t listen to you, won’t disappear when you look away.









Issachar, 2018, wood, 56x42x38 cm approx.





































