Creating shapes by treating the surface as if it were a 3D architectural space. Abstract bodies draw inspiration from trash playing with modulations of shape, color, and plane, in compositions of formal relationships that expand the visual field of design into a physical and mental definition of critical observation about consumer reality.

’Jan Egil Bakkedal was standing in the kitchen of his house making a sandwich when suddenly a great noise shook his composure. A piece of his world was uprooted and slipped into the water of the fjord ...’ 03/06/2020 Twitter, IP News Agency

We choose to settle under a large tree with roots deep in the ground. We cling to the stable ground and turn our house into a fortress, protected between its walls. We cannot imagine such colossal instability - in which the earth moves under our feet, carrying our world away.

The reality of our fragile world is built on unstable material, anchored in delicate balance points. The current Covid Virus has taught us a thing or two about the fragility of our world, about the instability in which we live. The circle, almost cosmic, in which we live in, striving for destruction and new balance. The work deals with this delicate balance; The cycle of destruction, balance, destruction and so on.

The Work

A balance weight is accompanied by the screening of a video documenting the landslide that took place near the town of Alta in northern Norway, alongside a row of small houses made of non-burnt, crunchy and fragile ceramic material seeking to find the perfect balance on both sides. The audience takes an active part in the "disaster" and tries to achieve balance by threading the houses on either side of the barbell. An art installation that was made in collaboration with Merav Ofri Vax for the third Pottery Slam event in Benyamini Contemporary Ceramics Center, February 2022.

My Father / Yehuda Amichai (transl. by Azila Talit Reisenberger)

The memory of my father is wrapped up in white paper,

like sandwiches taken for a day at work

Just as a magician takes towers and rabbits out of his hat,

he drew love from his small body,

and the rivers of his hands

overflowed with good deeds.

The poem of Yehuda Amichai was the source of inspiration for this creation. The interpretation I chose is specifically from the perspective of a loving and caring parent. I see myself as a creator because I have felt this way since I can remember. I was born to view the world through interpretive and visually-translated eyes, seeking meaning and visual translation in the life around me.

Only later did I become a mother, and suddenly I had two roles, two definitions, which became part of my comprehensive, challenging, and questioning self-definition. Self-definition is rewarding, but in competition, there is no definitive one with the other. The precise words in Amichai's poem were the essence I aspired to, and with them, I would wake up every morning, even many years after I stopped preparing lunchboxes for my children.

Two complete bodies embrace space, embodying complete existence, two complementary vessels, complimentary contradictions leaning against each other. "The illuminated side of the mountain/The shaded side of the mountain." The sunset, the moonrise, the grandeur of the sea, rising and falling and returning again. The sequence of time. The seasons of the year. The circle of life.

The desert environment maintains a recurring routine that echoes in life and presents it with its end. The Negev collection of vessels brings together the ability to contain something new and existing while creating a new and harmonious language that encompasses both. Containers made of porcelain or white clay are combined together with elements found after the floods in the Judean Desert and the Negev, creating new lives together. Forgotten items like tree branches and palm fronds that I collected with attentiveness and love are given a new existence, a different translation. In a period of uncertainty and anxious discourse about the fate of the Earth, I try to illuminate the critique of our place in the world with hope.

This series of works deeply refers to the cycles of life in nature, the endless cycle of life and death. It plays with the existence and non-existence, which have always been present in the core of my artistic practice. The challenge of the infinite, as well as the existing contradiction in tangible, physical creation, is a challenge that has guided my imagination over the years.

Clay is my material, and those who have experienced working with it know that besides being sensitive, unpredictable, and fragile, its creation allows for a final, decisive statement. It establishes an existing fact in the field, one that always leaves evidence and a mark. As clay artists, we impose our human intervention on the material, and there is no way back. With the help of natural energies and those harnessed from nature, we transform the nature of the world and perpetuate our existence.

I say that clay has an independent voice, disconnected from me, with a secretive nature. Some might even call it treacherous. The infinite dance of my creation and clay seeks to preserve harmony without overpowering it.

By allowing clay the freedom to act according to its own nature and laws, I involve it in the physical presence, the process, and, of course, the final outcome. Breaking, cracking, distortion, tearing, and bursting are blessed actions from my perspective. I embrace them and see them as demands of love and traces of our temporary existence, guests for a moment.

The modern reality of control is an illusion, a linear reality where one thing chases another according to a predetermined order that does not truly exist. The life paths of Eastern cultures embrace surprise. It says that our fixed will and sequential continuity lead us to suffering, and human longing demands illusory control and a desire for eternal life.

A life centered around the 'I' is truly impossible. From this longing, humanity derives control and the desire for permanence, leaving a mark, creating change, and leaving a legacy for future generations.

The group of works called "Pond" seeks to liberate itself from the ego, detach from the final product, and let existence follow its path, in the process and harmony of the different forces within the creation. The material, fire, water, air, and the artist are intertwined forces that cannot exist without each other. The perpetual process of searching lies at the core of the outcome, and it seeks to have continuity, to keep changing without me.

Little intimate objects designed in the spirit and modesty of Chagall's ‘shtetl’ houses, which have been conceptualized to project happiness in others, and to create intimacy and love in times of separation. A metaphor for the internal light that inhabits the soul and the connection between humans.