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The challenge was to shift felt from the two to the three dimensional realm and to bestow flexibility by interweaving thread.

Interweaving thread through the cloth in a dense spiral pattern gives it maximum flexibility and elasticity, both in the width and the length.

The camera catches my sister and her son in a moment of intimacy: the inspiration for the next work

A modern tapestry
Mixed techniques
Screen, plasticine and thread

Woven on a home loom
Moving the woof threads after removal from the loom
Play of light and shadow

Mixed techniques using sheets of cloth
Inspired by the movement of sand on the ocean floor

Mixed techniques
Clay and Thread

Hybrid – frontal view of the dragon combined with the side view of the snail, from the play Dotan’s Drakoli, by Edna Kramer





Bottom right: Shlomo the Snail
Item from the play

I wanted to preserve the turtle's exhausted expression
The shell had to “sit” on the actor like a hump – this angle indeed dictated the movements of the actors. Their long and curved necks emphasized their low- slung movements

The cowgirl and the bull become one
Breaking the convention that a head must be frontal (usually on the actor’s head) and the behind in the back resulted in freedom of movement in space for the actress and optimal control of the bull

The grasshopper’s form became clear from the study of zoology textbooks. The complexity of the details fascinated me. The mechanism that evolved provides flexibility of the movement of the joint together with the power that the movement creates
I strove for a constructive solution that would translate a small movement on the part of the actor to a large movement of the long legs of the grasshopper. Connecting the joints made the leaps convincing

In my mind, I saw the gluttonous mouse, but in the story, The Mouse Comes Home, the character is very athletic. In order to bridge this contradiction, I left the legs long and naked and covered the back part of his body and made it broader

In an attempt to achieve the essence of the frog, I looked for the crucial characteristic, without which the frog is no longer a frog: its jumpiness. As I was debating – legs in the front or in the back – I decided not to leave out anything, and in fact, that almost turned into the creature itself. After I worked through all the details, I only had to attach the costume to the actor so that he himself became an integral part of the frog

Thorny yet soft, threatening yet cuddly. The idea that guided me was to turn it into a household pet. I began with a very awkward construction, which didn’t work out, and went on to collect foam “needles” from previous work. The work stayed with me over time as an environmental sculpture, one that absorbs everything that is stuck into it. Every scrap of foam I came across made its way to the pile that was accumulating. The inside of the shell is even more interesting than the outside.

It has a special moovment.













I can testify that working on it is a form of meditation and can be very soothing.

Oak Tree
Rooted deeply in the earth, its branches bearing acorns

Deliberate exaggeration of the proportions of the eyes results in a form that is almost a caricature.
Meticulous choice of materials.

Fly - Girls
Two supporting flies

The Butterfly
False charm or beauty to be hunted. The choice of the correct textures and the merging of the colors enabled me to simplify the form

Costumes for six dancers, for a classical dance sequence. Designed to correspond to the original score composed by Nadav Ziv, I tired to give them the appearance of ballerinas
The scene is from the story "Mouse Comes Home" where he comes upon a cotton field

From the story that was made into a play, Dotan’s Drakoli, by Edna Kramer
His large body, in spite of its apparent clumsiness, is soft, inviting and accommodating. Due to the simple construction, he is light on his feet

Drakoli – from the play

The Ant
Hardworking and diligent, carries her own weight plus a heavy load. I feared that the many joints would be a problem, but the actress managed to operate them easily. The ant’s determination was tangible and became the main focus

The limbs before assembly are themselves art– the more there are, the stronger the impression

"“Even the actor sometimes needs a mask”
The visual aspect of theatre can range from minimalism of costumes and settings, to theatre that imitates (or at least attempts to reproduce) reality. In a play intended for all age groups, the costumes are of special importance, both for the actors inside them on the stage and for the audience. The size, colorfulness, and major physical properties play a crucial role in establishing the symbolization, realization, identification and conceptualization of the characters. The proper structure, adapted to the body of a specific actor, enables the imitation of the creature’s movements, helps the actor express the physical gestures, and allows for the connection between the two to be more easily discerned.