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 Interweaving Space  

An immersive installation connecting biodiversity and cultural diversity.  

The installation includes sound and a short interview with Ludovic Foster and a few other sea swimmers from the Brighton Swimming Club & the LGBTQ+ group Out to Swim.

The installation is a prototype for a larger work to be exhibited in 2022.

The work was commissioned by the Sussex Wildlife Trust for the Kelp Summit in November 2021.  For more info about the Kelp preservation project and the summit please see

 Twinkle Twinkle Little Star  

The short video work (06:55) Twinkle Twinkle Little Star highlights the death of refugee children while crossing the Mediterranean and the betrayal of UN's member countries to the promise given to refugees in the 1951 Refugee Convention.

Commissioned by Queens Hall Arts digital curator Dominic Smith the work was created for the 70th Anniversary of the UN Refugee Convention.

The film depicts a burning crib on a shore at dusk. The film's sound is composed of the Twinkle Twinkle Little Star lullaby tune which refers to the traveller at the dark night: "Then the traveller in the dark, Thank you for your tiny spark, He could not see which way to go, If you did not twinkle so." However, the lullaby lyrics in the film's soundtrack is replaced by the 1951 Refugee Convention legal document.


Concept and editing: Gil Mualem-Doron

Photography - Joe Hartman

Singing - Juliet Russell, Vocal Explosion.

Violin - Geoff Falk.

Lockdown DIARIES


Series of one minute moving images and texts. 

Commissioned by Counterpoints Arts for the Instagram project "Postcards in Isolation" and re exhibited at the online exhibition ‘Life, interrupted’ by the curator Tugba Tirpan. 


"None of us is free


all of us are free..."


A media campaign for the charity Triangle Project, Cape Town, South Africa - part of an artist's residency at Greatmore Studios. The photoshoot was carried out with members of the charity. Alongside the photos (whose participants cannot be identified for safety reasons) are stories by some Triangle Project members which tell of the intersections between discrimination and persecution on the grounds of sexuality, gender, poverty and migration.

"None of us is free until all of us are free" project was first commissioned by Brighton Pride and was carried out with Brighton based LGBTQAI+  persons of different ethnic backgrounds. The idea from the project was sprung from a photograph by Cathy Cade taken during Christopher LGBTQ march in Los Angeles 1972. 


2016- present   

No Man’s Lands (2016-) is an ongoing art photography project that uses a collaborative approach to convey the stories of men that are or were in limbo circumstances due to political, social, economic, or other factors. On the surface, the portraits are of individual men, yet as a whole, they also reflect contemporary global issues such as political persecution, the effects of wars or economic inequality, racial discrimination, persecution of LGBT persons, and more. As part of his socially engaged art practice, the photoshoots are based on long conversation/s with photographee about their personal stories as well as on the ways they would like to be photographed and represent their story.

The New Union Flag

2014 - Present  

The New Union Flag (NUF) re-imagines the Union Jack and celebrates the communities that have contributed to the UK’s cultural legacy. Re-created with fabric designs from all over the world, the New Union Flag transforms the traditional Union Jack from an archetype of uniformity into a dynamic and celebrational on-going performance of diversity. Whilst this flag started as a reflection on the UK’s colonial legacy its design is ever-changing to reflect the ongoing changes of the makeup of this nation. 

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“Present Absentees”


The project depicts the issue of “Present Absentees” or Internally Displaced Persons (IDP’s) in Israel. Present Absentees are Palestinians who fled or were expelled from their home in Mandatory Palestine by Jewish or Israeli forces, before and during the 1948 Arab-Israeli war, but who remained within the area that became the state of Israel. They are regarded as absent by the Israeli government because they were absent from their homes on a particular day, even if they did not intend to leave them for more than a few days, and even if they left involuntarily. IDPs homes, property and lands were seized by Israel. 274,000 Arab citizens of Israel (25%) are IDP.


The project was created during an Artist’s Residency at Umm El Fahem Gallery, Israel and the photographs were taken in the gallery as well as in the Elderly House in the town.



A room installation and agitprop - a series of 12 pendants with a collage made of Palestinian embroidery elements that symbolized houses, olive trees and a water spring. Each pendant is embedded with a unique visual QR code that is linked to the International Committee Against House Demolition reports from September 2019 to September 2020.  

The work was exhibited as part of a solo exhibition "Cry the Beloved Country" at P21 Gallery September-October 2020. 



An ongoing project of projection photography about displaced people and places.

During 3 hours workshop, the participants discussed places they were displaced from or places they cannot go to due to social, economic or political reasons and were photographed with these places projected onto them. The participants were invited to download the edited images from a website the week after. 

The workshop was commissioned by Brighton Dome and Sanctuary on Sea as part of Refugee Week 2019.

To book the workshop that can be carried out on site or on line please get in touch via email. 

 Protesting for DiverSity  


Protesting For Diversity is an ongoing workshop on the issue of diversity and inclusion. The workshops include conversations, placard making, a photo shoot and often an outdoor procession. The participants develop during the workshop various social, language and artistic skills. The project aims to tackle the rise of xenophobia, racism and antisemitism and to contribute to social cohesion. The workshops took place in the past two years in five cities across England in collaboration with local and national charities and art institutes including leicester, London, Brighton, Manchester, with the suport of Art Council England, Art Reach, Counterpoints Arts, Wondthword Council, ONCA Gallery, Brighton Dome,Wandsworth Arts Fringe, Caras, Tara Arts  and more. Some of the outcomes of the project were exhibited at ONCA Gallery, Rich Mix, and as part of three months solo exhibition a the Peope's History Museum, Manchester. To book the workshop that can be carried out on site or on line please get in touch via email. 



The project Mesubin (from Aramaic/Hebrew meaning seating around a table)  was created through a six months workshop with former refugees who are members of the Migrant English Project. The workshop included the creation of series of collages narrating visually stories of places in Brighton that reminded them places from their former countries. The digital collages were printed on porcelain plates. The project was designed to work within the english teaching conversations and communal meal at the MEP weekly meetings. 

The plates were the basis of a room installation where the plates were placed on a long table (6×0.9m) with 2 benches (4×0.6m) accompanied with soundtrack made out of conversation with the MEP members,  background noise from the club where they meet once a week and a music piece by Vocal Explosion. The installation was exhibited at ONCA Gallery Brighton and Rich Mix London in 2018. 

The project’s participants: Asima, Binnet, Farha, Iman, Lami, Lolo, Mary, Miriam, Mohamad, Sebastian, Unice, Biatrice, Farah, Genet, Halima, Hazara, Hilwa, Theresea, Zainab.


The Eucharist


 Eating sardines and chips on Jaffa's beach when a thought about yesterday's news headline is creeping "880 refugees lost their lives in Mediterranean, 2510 so far this year". And a thought is sinking - what did these fishes ate before they ended here, on my plat. What am I eating now. And I throw up.
A series of 5 Porcelain plates (30cm) printed with digital collages depicting the themes of the plight of refugees in the Mediterranean and the colonial past of Great Britain. The plates are placed on reclaimed wood found on Dover’s Coastline and accompanied with gold plated fish knife and fork.

The work was exhibited at Turner Contemporary 2016, Tate Modern 2017, ONCA Gallery 2018,
P21 Gallery 2019

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The-children-of-London-for-the-children-of-Gaza – A creative workshop (2015)

A creative greeting card workshop held as part of a fundraiser for the delivery of toys from the UK to the Gaza Strip organized by the Gaza Toy Drive charity

The first part of the workshop was a short introduction to Palestinian history in the 20th century and to the Israeli-Palestinian conflict and a discussion about the 2014 war. In the second part of the workshop, the participants were asked to create a collage that envisages the rebuilding of Gaza. To do that, they were introduced to various historical and contemporary architectural styles and learned about the particular environment and social condition of Gaza.

The materials for the collage were stickers with scanned textile patterns from various countries and cultures. These were designed to represent the international support for the rehabilitation of the Gaza Strip on the one hand, and the diverse cultural background of the workshop participants, from different part of London, on the other.
The participants built their collages on a photograph of an area destroyed in Gaza with tower cranes in the background. The cards were sent to Gaza with the toys together with the children’s best wishes.


Art Factory Artist's Residency, Israel 2012

ArtFactory Artist’s Residency, Israel [2012]

A community art project with a group of 50+ most of whom were migrants. The group was not interested in any art activities, but they did want to tell their stories of their migration, especially to their grandchildren. They were also interested in finding ways to get their grandchildren off their computer and TV screens. I have chosen to bring together the Steeplechase’s children street game known in Israel as 3 Sticks and storytelling.

3 Sticks is a street game  in which 3 twigs are put next to each other with small gaps between them. The gaps widen more and more as the game goes on and the participants need to jump over the sticks and land between the gaps. Getting over these hurdles / sticks denoted the hurdles the participants had to go through in their journey of migration. During the three months workshops they told the stories and created small collages from photos they had or which we found online that depicted the places they migrated from or from their journeys. They drew or copied these collages onto narrow planks of wood and the grandchildren helped in copying the short stories’ texts next to the images. The illustrated sticks were used in the closing event for an inter-generational Steeplechase game.

Before the Law [03:30"]
London 20212

A short musing on the Franz Kafka short story “Before The Law”, architecture, controls and freedom. The film was taken from the CCV camera at Leicester Square London shortly after the renovation of the square and the removal of some of the street vendors, buskers and other street artists from the square in 2012.

The Bad Sheets by Transgressive Architecture 
London 2000-2001

An urban intervention against the social cleansing of public spaces that took place eight times in Central London during 2000. The first intervention took place on the steps of the Royal Institute of British Architects (RIBA) on the eve of Lord Richard Rogers’ lecture on the role of architects in urban design. The project was covered by local and international media including Metropolis Magazine, City Journal, Art Monthly, Loud Paper, Time Out London, Evening Standard, AJ and the Times. Importantly, it contributed to the discourse on the right to public space.


The Dead Zone & The Architecture of Transgression
PHD Thesis TU DELFT 2013-2018 

The thesis “The ‘Dead Zone’ and the Architecture of Transgression” investigates the imagery of ‘emptiness’, ‘voids’, ‘no-man’s Land’ (etcetera) in architectural and other discourses, drawing on imagery from antiquity until today. The study begins with the particular case of a now obliterated Palestinian village at the edge of Tel Aviv. The prologue of the thesis gives, in the form of a short story, an exposition of the subject. It introduces the main argument, that this space is a product of the discourse, and that between the two lies an unbridgeable gap. I argue against the short sightedness of planning practices and present the importance of site research for the subject at hand...

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