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2013, mixed media, 190x~80x~60 cm

Are You Comfortable

2015, polymeric plaster, plaster, 18x86x69 cm


2014, cement, polymeric plaster, 24x45x25 cm


2012, burnt clay, gold leaf, iron rods, wire, cement, 116x36x20 cm



2014, polymeric plaster, polyester resin, 29x49x30 cm



2015, oil colours, polymeric plaster, paper, rope, on plywood, 32x95x26 cm



2016, burnt clay, plaster, plastic tube, cloth roses, 34x25x27 cm


2015, cement, branches, rope, 13x33x13 cm



2016, porcelain, glass rods on synthetic grass base, 94x90x140 cm



 2013, polyester resin, plaster, 80x24x25 cm


2016, polyester resin, railway sleeper, 129x60x40 cm



2012, plaster, 21x35x20 cm



2012, charcoal and pencil on brown paper, 141x230 cm



2013, oil on canvas, 25x35 cm



2014, Oil on wood pallet, 119x99 cm



2016, unburnt clay, polyester resin, 63.5x32x24.5 cm

Tree of Generations


2016, mixed media, 94x40x50 cm



2012, bronze, 19.5x32x17 cm



2012, burnt clay, 20x33x18 cm



2014, olive tree, polymeric plaster, 193x160x170 cm



2012, cloth, resin, 48x40x36 cm



oil colour, gold leaf, paper on carton, 36x76 cm

Video: in collaboration with Meydad Eliyahu ; Editing: Yoav Bezaleli 


In my exhibition “Synecdoche” (Zadik Gallery, Tel Aviv 2011) I showed sculptures of women, all of them my friends. I photographed them in several poses and sculpted using the photos as reference. I still work this way.

However, when there was no available friend my daughter, Maya took on the role. The image of Maya lying back on the piano stool became the central image in this body of work.

On one occasion I photographed a friend and none of the pictures were of use. It was the first time I threw away all the photos. A year later this friend died of cancer. From then on, I never again threw away any photo.

Despite doubts, thoughts about the mystical power of the objects and their ability to influence human destiny, began to permeate my mind.

I move on the line between my art, my motherhood and my awareness of being an orphan that often contradict each other but at the same time nourish each other.

The repeated representations of the sacrificial rite which merges with or replaces the image of the Pieta are at the core of this body of work.  This pose appears in the context of human sacrifice among the Maya and perhaps even in earlier cultures. In my work my daughter’s lying on the "altar" is a voluntary act which suggests trust, intimacy and devotion. I, however, take the offering of my daughter and simultaneously expose, sacrifice and protect her.

I obsessively repeat this ritual, and examine how the use of different materials creates different meanings and connotations - each sculpture summoning the next one.

Sometimes I sculpt the same image anew like repeating a mantra; sometimes I use a mold and pour different materials into it.

In his Mythologies, Roland Barthes says “For while I don't know whether, as the saying goes, 'things which are repeated are pleasing', my belief is that they are significant (translation from the French: Annette Lavers).

The work process began with a clay sculpture which seemed to look like a dancer lying backwards.

Gradually, after I had made the sculpture in bronze, and then enveloped it in a plaster shroud, the image changed and took on the meaning of a sacrificial body.

The image of my daughter becomes a vessel for interpretations and ideas around a specific point in time – my mother’s illness and untimely death and their effect on my life. The image which visually represents Maya incorporates within it my mother, my daughter and myself, each sculpture placing one of us at the center.

I adapted these two well-known symbols (the sacrifice and the Pieta) to my biography.

I use them as letters for a personal "handwriting". My difficulty in coping with reality from an atheistic point of view, together with the fear of the unknown in a world without God, caused me to create for myself an aesthetic substitute for religion - objects and symbols which serve as substitutes for religious icons and utensils.

These came to represent a private voodoo language as if my sculpture had the magical power to affect reality.

noa arad yairi

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