Provoked by the phenomenon of "albinism" in the Israeli art world, these brooches pay homage to Yael Gilat's "For Out of Zion Shall Come Beauty, and Art from Jerusalem" and Sara Chinski's "The Silence of the Fish." They inquire into local identities within the Israeli context, continuing a conceptual trajectory while examining the mechanisms to which we are subject.

I wander through the walls of my childhood home, in an Orthodox Jewish settlement in the West Bank. My mother is the daughter of war refugees from Central Europe; my father, the son of Yemeni immigrants, grew up in a transit camp.

Made of copper, silver and raw black clay, the brooches fit the palm of a hand. Their minimalist, abstract, geometric forms, emblematic of a style that profoundly shaped Israeli art, embody the tension between aspiration toward European modernism and the craftsman's simple interaction with material.

Using them requires disrupting their mechanisms, by disassembling or reconfiguring their components.