My main method of painting is pulling threads from old bed-sheets and arranging them on the canvas between layers of colours. When the paint dries the threads are removed, leaving their traces as part of the image. This echoes the experience of the maternal body and subject in the sense that there is a body within a body for a duration of nine months, then one body comes out of the other. What traces are left in the maternal body and how maternal subjectivity is affected by these traces?  

In my studio I filmed myself performing with one of my painting (entitled: ‘A Bullet-proof vest or Tzi-tzit?’ 2016). More specifically, I removed the threads and placed them on my face; however, I positioned the camera in a way that it captured my body only; the face is cut-off by the frame. This creates an opportunity to observe the relationship between the body of the painting, my own maternal body and subjectivity.