top of page
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.
Love Disaster/Brunette/Dynasty
Museum of Art, Ein Harod / Heinrich Boll Foundation, Tel-aviv / Rosenfeld Gallery, Tel-Aviv, 2000-2002
At the center of this early body of work is a dark-skinned girl – the child I once was. Hidden and averted gazes shape the world as I experienced it. Tension is embedded in contracted bodies and everyday details that become metaphors for psychological strain. These paintings evoke a fragile world where the boundaries between intimacy and fear, home and danger, are blurred, and domestic spaces are charged with latent violence.
Love-Disaster / Brunette / Dynasty
Museum of Art, Ein Harod, 2000 /
Heinrich Boll Foundation, Tel-aviv, 2000 / Rosenfeld Gallery, Tel-Aviv, 2002
Curators: Galia Yahav /
Dr. Tal Ben Zvi /
Diana Dallal
At the center of this early body of work is a dark-skinned girl – the child I once was. Hidden and averted gazes shape the world as I experienced it. Tension is embedded in contracted bodies and everyday details that become metaphors for psychological strain. These paintings evoke a fragile world where the boundaries between intimacy and fear, home and danger, are blurred, and domestic spaces are charged with latent violence.
Brunette | 2000-2001
Dynasty | 2000-2001
Love Disaster/Brunette/Dynasty
Museum of Art, Ein Harod, 2000 /
Heinrich Boll Foundation, Tel-aviv, 2000 /
Rosenfeld Gallery, Tel-Aviv, 2002
Curators: Galia Yahav /
Dr. Tal Ben Zvi /
Diana Dallal
At the center of this early body of work is a dark-skinned girl – the child I once was. Hidden and averted gazes shape the world as I experienced it. Tension is embedded in contracted bodies and everyday details that become metaphors for psychological strain. These paintings evoke a fragile world where the boundaries between intimacy and fear, home and danger, are blurred, and domestic spaces are charged with latent violence.
bottom of page