Frumkin
I create site-specific paper installations alongside carved PVC and ceramic works. What unites these techniques is the fundamental act of cutting two-dimensional surfaces, transforming them into sculptural forms.
In my paper installations, I cut shapes that drop down from the walls, creating volume and shadow. With PVC and ceramics, chisel cuts generate rough, tactile surfaces that can be felt at the fingertips – like drawings for the blind.​​​
In an era of image saturation, I reduce material to its essence – working with single materials while maintaining a monochromatic palette.Whether paper, ceramic, or PVC, I allow light to create subtle tonal variations. Through this reduction of sensory stimulation, I create an alternative to the constant excess surrounding us – excess of images, movement and sound.​
I create quiet spaces made of paper, that enable contemplation.Viewers can experience the work through their body, invited into meditative observation.My paper structures are architectural spaces that respond to their specific sites, designed for people to enter.
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Paper, as a material, creates an impression of fragility, echoing our own physical existence through proportions adapted to human scale.
My earlier painting practice involved enlarging small pen drawings, often sacrificing the original's immediacy and graphic quality. Paper cutting became my solution, preserving the directness of the initial sketch.
The cutting action embodies fundamental contradictions – delicacy and violence – bringing to life the tension I seek to express.