SAND MEMORIES

The wooden statue was sculpted in a remote village in Zimbabwe. The African boy indifferently
took my suggestion to sit next to him, watching his work. When I asked to join and sculpt with
him he turned his head towards me and sent a surprised look straight into my eyes.
He put a hammer and a delicate sculptor in my hand and asked me to practice on an left-over
piece of wood, sending a look from time to time to find that this was not the first time I had
held these tools in my hands. Only after he was convinced that I did not intend to spoil the
work, he agreed to join.
He sculpted, to me he allow to handle the crease of the garment on the waist and the hair, I
started too low behind the ear. The boy asked me to be careful, proving to me with his finger
that the hair I pierced is not in the right place.
When we finished he gave me the wooden statue. Even to this day I do not know whether he
gave it to me because he appreciated my effort, or he was totally unsatisfied with the result.
I scanned the sculpture to recreate it. Maybe the printer would re-sculpt it? why not? Modern
technology and a common material, sand that although it fell victim to the printing revolution
and was forced to become sophisticated so that it would be measurable and accurate and
fast to harden, did not lose its ability to get liquid and hot metal closer to it.
The sand printer is used to produce mold cores in an aluminum casting industry. It is an
amazing innovation, a true technical revolution. In an industry with an ancient and almost
frozen tradition, it is possible to create internal and three-dimensional space that easily skip
over the obstacles of extraction and distortion.
I love molds, love their essence, the sand molds are the most intriguing of them all. The
charm of the common material that works against its nature. The color of the layers and the
meeting marks left behind by the heat and the casting process. I am thrilled by the structure,
the shape and the secret that are slowly assembled and crumbled at once.
I chose to design an object that is both a product and a mold, an object with an inner secret

• sometimes visible, sometimes implied. Its end is closed. Its shape constantly changes as a
  result of the encounter with time, with the audience and with the spirit.
  Exhibited at:
  2016 ”Smart Materials – Stupid Materials” , Julia Mizrachi, Vitrina gallery, HIT – Holon Institute of Technology,
  Israel Curators: Shlomit Bauman.
  2018 “On Guard” Hansen House Gallery, Jerusalem, Israel.
  Curators: Michal Evyatar, Guy Aon, Adi Orian.
  2020 ”Biennale of Craft & Design 2020 – First Person, Second Nature” MUZA Eretz Israel Museum Tel Aviv,
  Israel. Curators: Henrietta Eliezer Brunner, Yuval Saar, Nir Haramt, Merav Rahet, Liora Rosin.
  2022 ”Breaking the Barriers of Material” New Taipei City Yingge Ceramics Museum, Taiwan.
  Curators: Henrietta Eliezer Brunner, Yuval Saar, Nir Haramt, Merav Rahet, Liora Rosin.
  Part of the of The Eretz Israel Museum – MUZA, Collection Tel Aviv, Israel.