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2013, burnt clay, 14.5x13.5x48 cm



2013, burnt clay, 14.5x13.5x48 cm



 2015, burnt clay, 54x19x15 cm

(She who is still beautiful)

2015, burnt clay, 60.5x51x33 cm


2015, burnt clay, 56x~40x28 cm



2015, burnt clay, 18x32x67 cm

Michal standing


2013, burnt clay, 11x10 cm

Michal Reclining


2016, burnt clay, 53.5x35x28 cm

Michal sitting


2013, burnt clay, 16x16x23 cm



2016, burnt clay, 38x25x30 cm



 2013, burnt clay, 24x~18x265 cm



 2016 burnt clay, 90x28x26 cm



2017, clay, graphite, cement, iron-rod, H95xW41xD24 cm


I sculpt a woman from a block of clay by subtracting the excess material. When I find the sculpture within the block

and it feels that it is finished I cut it open vertically (except the sculpture "Aya"), as is traditionally done –

to hollow and then join the parts together before burning the sculpture in the kiln. To me, the act of hollowing the

sculpture is actually sculpting it anew from within, following the realistic outer side. So I split the sculpture and leave

it as is, to expose its inner part, which is as important as the outer one.

Through the title I want to emphasize the act of the cut and the importance of the inner side of the sculpture.

I also call it thus after a work of Gordon Matta-Clarck (1943-1978) who split buildings in order to reveal their

inner structure (among other ideas).

This is what I am interested in my sculptures – searching for the woman's soul and inner self, or maybe delving into mine.

noa arad yairi

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