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Mother Tongue,
Museum of Art, Ein Harod & Hagar Gallery, Yafo, 2002-2003
Neta Harari Navon’s 18-panel painting reimagines the tradition of The Last Judgment, replacing divine judgment with human responsibility. Titled Judgment Day, it questions the notion of a single, predetermined verdict. In Judgment Day, Jesus is absent; there is no judge, no judgment, no one to decide who is righteous and who has sinned. Inspired by Renaissance masterpieces and mud festivals, the work explores the tension between imposed moral order and instinctive human freedom.
First Portrait Award,
Tel Aviv Museum of Art, Helena Rubinstein Pavilion of Contemporary Art, 2002-2003
This series conceives of painting as testimony – a visual memorial. It depicts girls, adolescents, and young women lying alive, dead, or suspended between life and death, some based on police photographs from murder scenes. One of them is my mother. These paintings confront trauma through an intense realism in which painting becomes an act of witnessing, transforming proximity, vulnerability, and human suffering into a lasting visual testimony.
First Portrait Award
Tel Aviv Museum of Art, Helena Rubinstein Pavilion of Contemporary Art, 2003
This series conceives of painting as testimony – a visual memorial. It depicts girls, adolescents, and young women lying alive, dead, or suspended between life and death, some based on police photographs from murder scenes. One of them is my mother. These paintings confront trauma through an intense realism in which painting becomes an act of witnessing, transforming proximity, vulnerability, and human suffering into a lasting visual testimony.
Brunette | 2000-2001
Dynasty | 2000-2001
First Portrait Award,
Tel Aviv Museum of Art, Helena Rubinstein Pavilion of Contemporary Art, 2003
This series conceives of painting as testimony – a visual memorial. It depicts girls, adolescents, and young women lying alive, dead, or suspended between life and death, some based on police photographs from murder scenes. One of them is my mother. These paintings confront trauma through an intense realism in which painting becomes an act of witnessing, transforming proximity, vulnerability, and human suffering into a lasting visual testimony.
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