Women’s Stories
Women’s Stories is a body of work that engages in a renewed reading of female narratives through image, body, and memory. The works return to stories of women drawn from history, philosophy, and mythologies, asking how they change when read from a female perspective. Through an act of reclaiming, the female story receives a renewed presence, especially in places where the voice has been silenced, erased, or told through another gaze.
At the center of this body of work is the image of the torso in drawing, as a hybrid between body and vase, body and vessel. The torso is not a portrait of a face, but a form that holds story, memory, and meaning. Through repetition, duplication, and the deconstruction of images such as thorns, flowers, hands, and drops, a visual language is formed in which the female body becomes a vessel of containment, testimony, and resistance.
2026
The Voice of Tamar
45.7/61 cm
Dip pen and ink on 300 gsm Canson paper
“The Voice of Tamar” is a personal and female interpretation of the biblical story of Tamar. Her story is one of rape, violence, and silencing. Tamar tries to demand justice for herself, but her voice is taken from her. At the center of the drawing is a figure holding a lyre that cannot be played, because its strings have turned into thorns. The lyre symbolizes the House of David, as well as Tamar’s silenced voice. The drawing speaks of harm and silence, then and now.
2026
Self-Portrait
45.7/61 cm
Dip pen and ink on 300 gsm Canson paper
A self-portrait, and my own gaze at myself: the figure of the researcher and storyteller. The portrait brings together images and symbols that represent me: the sunflower, the observing sunflower with an eye, the bird-of-paradise flower, and the recurring drops. The figure is unclothed in order to remove her from a specific time period and create a timeless image.
2026
Lea Gottlieb
45.7/61 cm
Dip pen and ink on 300 gsm Canson paper
Lea Gottlieb, a Holocaust survivor and co-founder of the fashion brand Gottex, appears in my work as a different kind of heroine: a quiet heroine of survival and continuing life.
During the Holocaust, on her way to visit her husband Armin in a labor camp, she carried a large bouquet of chrysanthemums and hid her face inside it so she would not be recognized. As she later said, so they would not recognize her Jewish face.
In the drawing, the chrysanthemums are not simply a “beautiful” flower or decoration. They become shelter, a symbol of resourcefulness, and a clear sign of choosing life. The image points to a moment in which beauty becomes a shield, and survival becomes an artistic act of existence.
Exhibitions
2026
Women’s Stories
Curator - ilana carmeli lanner
Bat Yam Design Terminal, Group exhibitions
“Women’s Stories” offers a renewed reading of female narratives through image, body, and memory. The exhibition brings together three drawings of women, ceramic torso sculptures, and a thorn-covered cardboard frame into one complete wall installation.
Through repetition, duplication, and deconstruction, the work returns to women’s stories in order to read them anew, examine female heroism, and look at decisive moments that alter the course of life.
Exhibition and artwork photography: Yuval Dar
2026
Chariots of Ink,
Tribute exhibition to Ephraim Moshe Lilien
Curator - Michal Magen and Tami Berenstein
Illu gallery, Group exhibitions
“The Voice of Tamar” returns to Tamar’s story, focusing on a harm that continues beyond the act of violence itself, through silencing and the loss of voice.
At the center of the triptych is a female figure that is both torso and vase, a body as vessel. Instead of a head, a pansy flower appears, marking Tamar while pointing to the absence of her voice. The figure holds a lyre, a symbol of the House of David, yet it cannot be played: its strings have turned into thorns.
The thorns mark the absence of voice, pain, and what remains in place of sound. They continue onto a ceramic vessel displayed alongside the triptych, bringing the image from the page into space and connecting an ancient story with a contemporary female gaze.
The work was created as a tribute to Ephraim Moses Lilien, through research into his visual language, biblical imagery, and use of the triptych format.
