This is also Jewish art

For me, painting started as a way to process thoughts, tensions, and questions I didn’t always know how to articulate in words. Over time, it became something more deliberate: A space where I could explore my identity on my own terms.

I grew up within a Jewish framework, but not always inside the lines.

Some parts felt grounding, while others felt excluding. I often sensed that the tradition wasn’t speaking to me, or if it was, it wasn’t leaving much space for response.

Much of Jewish tradition is built on continuity and interpretation. But in practice, interpretation is often gatekept, limited to certain voices, usually male, usually religious.

And yet, the Tanach itself is written with so much ambiguity, so much space between the lines. It's not a closed book. It invites questioning, reinterpretation, even contradiction - but until now, much of that interpretive space has been occupied and defined by male perspectives.

My work isn’t trying to dismantle that, but it does ask: What happens when other voices step into the conversation?

The Levite's concubine

I don’t paint with the intention of being subversive. But I recognize that giving voice to women who were silenced, or rendering them as fully present, physical, and emotionally complex, can feel like a disruption, even a challenge.

But I don't think questioning makes me less Jewish. If anything, it's a central tenet of Jewishness. And I don’t believe observance is the only form of engagement. My paintings are a way of being in relationship with the tradition, not from the margins, but from where I actually am.

She'ila on the alter II

My current series, This is not an offering, reimagines biblical women not as symbols or sacrifices, but as figures with agency, grief, rage, and silence that still resonates.

It’s not about correcting the text, it's about making space within it.