My work is firmly rooted in the reason why I chose to devote myself to art in my forties. I found out that when I draw I embody the true meaning of something, a phenomena in its wholeness: objects, emotions, thoughts, scenery, aim, solicitude and so on.

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I'm interested in the way that composition and balance resonate emotion through the spectator's eyes. A lot of my work centers around abstraction of different states of mind and mental states: "Gesture", "Good will", "Consciousness", "Forgiveness", "Survival" are just few examples. Though most of my works are abstract or "intuitive", I don't consider myself to be a pure abstract painter. The act of depicting our being in a way that captures more than meets the eye is a big enough challenge which goes beyond painting tradition and style.

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I see the changes in our world in recent years: Tunisia, the fall of Gaddafi, the mass awakening in Egypt and civil war in Syria, years after the change of regime in South Africa. I'd like to refer to these phenomena as an outcome of balance/imbalance in human life. My primal outlook of the world is of a wonderfully balanced harmony in which forces strive for change and equilibrium. Even the human body very sophisticated mechanisms maintains a wonderful balance; when this balance is disturbed, a process of disease occurs followed by healing of returning the balance to the damaged systems.

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Though we found indicators to characterize a state of balance in various systems, humanity and political state is a phenomena that subject to the same laws of aspiring to a balancing point. I'm not claiming for an ethical judgment of things but rather  to laws of nature that are violated when people are suppressed. 

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​When I paint, I feel the esthetic aspiration to reach that kind of balance in my work that would be appealing. If its gone, we all feel it - as only when my work is truly balanced can we speak of a deeper meaning of a common experience of life.

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The theme of most of my pieces are childhood and motherhood memories which both represent pain and hope. I'm a daughter of immigrants who came to Israel from Bagdad when I was five years old. I was always an independent spirit but growing-up, there was almost no place for me to make my own statement and develop aspirations and ambitions as I was subjected to the same firm attitude towards woman. The bliss of falling in love, starting a family and the joy of giving birth to my first son was cut off when he died at the age of four. Some of my works depict moments of great pain and suffering ("In deep water")  but they always appear with a sign for hope, optimism and vision.