Starting by questioning the meaning of existence. For example, George Berkeley, originated the theory called "immaterialism", which denies the existence of material substance and instead says that familiar objects are only ideas in the mind of the perceivers, and as a consequence it can not exist without being perceived. ‘Solipsism’ (in Latin solus, it means "only", and ipse, it means "myself"), is the philosophical idea that only one's own mind is sure to exist. As an epistemological position, solipsism holds the knowledge that something outside one's mind is uncertain; The external world and other minds can not be known and perhaps do not exist outside of the mind.

I pose an alternative hypothesis. Things exist even if you can not sense them. The ‘permanence of objects’ is the understanding that objects continue to exist even when they can not be observed. This conceptual thought has an immediate connection with the visual phenomenon called: camouflage. Since in camouflage, an object exists even if you do not see it.

By learning about camouflage in nature, we learn it is used as a defence system to disguise appearance, usually to mix with their surroundings. Organisms use camouflage to mask location, identity and movement. This allows the prey to avoid predators and for predators move furtively among the prey. Camouflage is about blurring the “edges” between the object and the surroundings - in other words the subject and the context. Its clearly a survival mechanism which being used to protect or attack, and exist in all levels of life. In cultural camouflage one has to identify these sharp edges (which are not accepted as normal), and obscure them by adapting characteristics of the environment. It can be a conscious or unconscious process. camouflage can be dangerous, not only to the surroundings but to the object it self because when camouflage progresses for a long period of time, the object can forget who he really is, on his own.

My aim is to achieve the result of a camouflage (because it is unavoidable and is necessary for survival) but without having to obscure who I am. Instead of being a passive subject (by adapting the features of the surroundings), I become an active one by forcing my features on the background. The result is two things merged into one. subject and context are now an object - a self portrait. a portrait that grabs the viewer’s attention with eyes staring back and maintaining eye contact - an act that is avoided when camouflaging. My objective is to demonstrate (through art) that our perception of reality is based on things that are not evident, but rather hidden. It is a process of revealing rather than hiding.

I am interested in phenomenology, the study of consciousness from particular points of view. Performance art was born of interdisciplinary thinking, to be made uncomfortable by it, to admit your feelings of suspicion, fear, dislike, or claustrophobia. Performance art gives a room to think about who you are, where you are, and how you relate to those who are not you. It allows us to contemplate the rules, written and unwritten, of any given space or time. Performance can make you uncomfortable. Don't leave the room. Stay. Be uncomfortable. Revel in the mystery of what may or may not occur. Think about why you're feeling the way you're feeling. Performance art invites the unknown, the undiscovered to be discovered.

A woman, painted in monochromatic shades of colours is moving upon a clear, bright background. With every touch the monochromatic woman is transferring her colors, her characteristics onto the background canvas. Stained forms of color appear in an enigmatic manner after every movement. At first it may seem abstract, unidentified… but as the relationship between the woman and the canvas develop, shapes are formed into recognis

able objects. The background turns into a fairly clear image that represents the woman (object).

and the woman?… the woman is blended into the background, into herself.

There are mechanisms and tools that can be used during the metamorphosis of this process. Working with layers felt natural to me conceptually and emotionally. I’m developing a unique technique to produce “Reverse Camouflage” project. Each “Reverse Camouflage” consists of three works of art: live performance, painting (result of performance) and video art (video is recorded from above, while the performance is taking place on the ground). The video depicts a painting coming to life, while the object creating it is being lost inside.


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