In recent years, my work has focused on depicting the ruins of Syrian and Circassian buildings that remained in the Golan Heights after the Six-Day War and the Yom Kippur War.
I also frequently paint Syrian villages just across the border from my home, as seen from within Israeli territory.
 

My interest in these subjects stems from a desire to reflect on the life cycles of specific places — on the communities that once lived there, whose lives were irrevocably changed by war — and on how the past continues to be present in life in the Golan today.

Through painting, I also explore the similarities and differences between myself and my neighbors in the region — Druze and Syrians living on both sides of the border.
 

My paintings are based on photographs I take throughout the Golan. Photography, for me, serves both as a way of bringing things closer and holding them at a distance.
On the one hand, it creates separation — I do not paint the subject itself, but rather its image. On the other hand, photography allows me to enlarge the image and observe details the naked eye might miss.
 

I work primarily in oil and watercolor, two mediums with very different qualities.
Oil painting enables a slow, dedicated exploration of the photograph’s details, while watercolor offers a quicker, more immediate way to document an image.
 

Painting is, for me, a tool for processing questions around the concept of "border": the temporal border that separates present from past, the physical border that defines geography, and the cultural borders that divide neighboring populations — even when no tangible barrier exists between them.