The works in the exhibition emerged from the transitional experience associated with childbirth and the beginning of parenthood. The exhibition seeks to linger at the threshold opened by this state of profound transformation, at the moment when the body, time, and identity lose their familiar continuity and take on a new form.

At the center of the exhibition stands a large-scale drawing of a date palm grove. Among the tree trunks and rocks appear holes, surfaces covered in hair, and images drawn from various sources connected to the local landscape, early parenthood, and mythology. These elements were assembled into a digital montage and translated into a charcoal drawing on canvas.

Alongside the drawings are plaster casts containing organic materials from the soil of the Jerusalem forest where they were cast. The conditions of the site, the texture of the ground, and residual traces of material became part of the working process and were inscribed into the sculptures themselves. The act of casting transforms the earth into both surface and mold, preserving an encounter between body, material, and place. The forest near the artist’s home has served as a site of artistic practice for several years. It is a liminal landscape, situated between the city and the surrounding wilderness, and adjacent to the military cemetery of Mount Herzl.

Summoning Artemis invokes the mythological figure of the goddess associated with freedom, the wild natural world, and a life beyond the familial order, as well as with the protection of women during childbirth. It is also a reflection on the spirit of one who vowed to remain free and untouched by marriage or motherhood, an inner aspect that can seem to be left behind upon entering parenthood. At the same time, the title refers to a call in its more immediate and bodily sense: a cry emerging from childbirth itself, and also a summon to other women and mothers, just as they are invited into the space of birth and into the space that opens in its aftermath.