Madonna #1

The Madonna of The Toilet

2016, polymeric plaster, wire,
gold leaf, 53x21x18 cm


Madonna #2

2016, polymeric plaster, wire,
gold leaf, 54x21x18 cm


Madonna #3

       2017, polymeric plaster, wire,         gold leaf, 48x22x21 cm


Madonna #4

 Resting Piece

       2017, polymeric plaster, wire,         gold leaf, 23x39x52 cm


Madonna #5

 Madonna and child I 

2018, polymeric plaster, wire,
gold leaf,46x23x30 cm


Madonna #6

      2018, polymeric plaster, wire,        gold leaf, 25x67x31 cm


Madonna #7

      2018, polymeric plaster, wire,        gold leaf, 66x21x18 cm


Madonna #8

Madonna and Child II


       2019, polymeric plaster, wire,         gold leaf, 64x30x28 cm


Madonna #9

2019, polymeric plaster, wire,         gold leaf, 16.5x30xLength65 cm


Madonna #10

2020, polymeric plaster, wire, 
gold leaf,
51x32x38 cm


Madonna #3 

2018, Oil on wooden drawer, gold leaf

 43.x65.5x6 cm


Madonna #4 

2019, Oil on canvas, gold leaf
52x70.5 cm


Madonna #8 

2020, Oil on canvas, gold leaf
71x53 cm


The Madonnas are sculptures of women as classical icons in positions that deviate from the

tradition of women's representations.


These are female figures from my life, my friends and family members, ordinary women with a unique

body structure, which does not necessarily match the ideal of canonical beauty that is instilled by society.

In this series I specifically refer to one of the basic ideals of femininity in Western culture, the Madonna,

the supreme representation of motherhood and femininity.

In this series the Madonnas appear in positions that are usually performed in private, performing basic physical functions.


These postures are far from the ways in which women tend to present themselves to the world - they

smell themselves, check themselves or are simply a bit flabby and clearly non representative.

I evince the absurdity of the woman's self-presentation - she allows herself to be just a woman,

a biodegradable body, not necessarily beautiful but natural and lacking of pretensions - only in private,

when no one is looking.

The series therefore reflects how much the ideal of feminine beauty occupies a heavy weight in a woman's

daily life. How social life is based on an artificial display of women.

The display of the Madonnas as a series that includes versatile types of women emphasizes the idea that there

is no One Madonna, no single version of femininity and cannot be subordinated to a single set of stereotypes.

The choice to deal with these issues through the practice of figurative sculpture contrasts these stigmas

with a well-known artistic tradition. The dimensions of the works are located somewhere

between a small sculpture, which can be placed on a home shelf and a large sculpture that belongs

to the museum display spaces.

The intermediate dimensions undermine the generic functionality of the sculpture - like the sculpted women,

this is a dimension located in between categories.

But more than anything it is a size that relates to the dimensions of my hand and is therefore anchored in

physical contact to a body that does not accept or comply with dictates.

noa arad yairi