My sculptural practice seeks to harness the tension between synthetic and organic materials. Within this paradoxical intersection- I use sculptural form to tell mythical stories about motherhood, ancestral disconnection, spiritual vacancy and discovery, grief, internalized Anti Semitism and homesickness. I use materials intentionally to scrape, stab and scour at certain cultural signifiers relevant to my experience growing up in a working class Ashkinazi family on Cree, Ojibwe and Metis land, colonially known as Winnipeg, Manitoba.  I wonder if synthetic materials are the hyper-embodiment of generational trauma. My work examines the fractures in familial, ecological and spiritual relationships. Through the sculptural process, I pursue visual modalities of healing, submission and liberation. 

I am the great great granddaughter of a Rabbi from Ukraine named Abraham Feuer- who accepted a deal with the Canadian Jewish Colonization Association in 1901 to initiate a Jewish Farm Colony in rural Saskatchewan. In his philosophical text titled: “The Immortality of the Soul”, He writes: 

“Western Canada, Land of the storms, where Judaism is frozen and Jewish Intelligence is frozen in the depths…”

I am the daughter of a former Goalie for the Winnipeg Jewish Mens’ Hockey League. The Mishna suggests that one should not begin the study of Kabbalah until the age of 40. At the age of 41, After my first year of Kabbalistic study, I received a divine message stating:

 “In order for me to become a Mystic, I first must learn how to be a Goalie.”

I examine and re-examine how my creative practice and my spiritual practice are the same strange thing.  I am Mother to Galileo, an Associate Professor of Sculpture at California College of the Arts, Goalie for the Oakland Night Herons and run the kitchen at my Shul.