1973- 77 Architecture program, Ort Technicum Academy, Givatayim
1979- 81 Fine arts and ceramic sculptures, Art Studios, Eilat Art
1981- 85 B.F.A. Sculpture, Bezalel Academy of Arts, Jerusalem
1986- 88 Art history, Hebrew University, Jerusalem
1990 Carpentry
2004- 06 M.A. India culture studies, Hebrew University, Jerusalem

Group Exhibitions

1985 The Young Artist, Tel Aviv Museum of Art, Horace Richter Gallery, Jaffa
1988 Spiderman, Children’s world, Venetian Figures, Israel Museum, Jerusalem
1991 New Members, Artist House, Jerusalem
1996 Woman Time, Artists House, Haifa

Environmental Works and Solo Exhibitions *

1990 *Sketches for a Dance, Jerusalem Theater
1992 Rebecca, Brandt School, Jerusalem
1993 Mellawin Wall, Jerusalem
Rumblings, Golomb St.& Begin Blvd, Jerusalem
Being a Woman, Ramat Raziel
1994 Harp, Lines in the Desert, The Israeli Air Force Museum, Hazerim
1995 Reclining Woman, Nahal Zin Crossing, Arava Road
Babe Gan Ha-emek, Giv’at Ze’ev
Hebron Rd, Foundations, Hillscape, Jerusalem
1997 Tiamat, Mei Naftouch, Jerusalem
1998 Sun Braid, Givon Ha-hadasha
1999 Hieroglyphics, Begin Blvd, Jerusalem
*Running With Wolves, Mitzpeh Ha-yamim
2000 A Psalm of David, Bukhara carpets, Ir Ganim, Jerusalem
Locked Garden, Efrat
Whispering Sheaves, Efrat
Abundance of Property Engenders Disdain, Yizhak Rabin School, Mazkeret Batya
*God will Provide Himself a Lamb for a Bumt Offering, Joseph Constant Gallery, Ramat-Gan
Beasts of the Earth, Lifta, Jerusalem
2002 Sansanoy, at the front of Hadarim building, jerusalem
2004 Kaf El Kaf, Or Tora School, Jerusalem
2010 Awakening, Sea Level, Road no. 1


1984-5 America-Israel Cultural Fund.
2004 The Rosa K. Rabinowitz Memorial Foundation. Hebrew University of Jerusalem.
2005 Robert H. and Claris Smith, Hebrew University of Jerusalem


Environmental Sculpturing
Study Of Indian Sculpturing
About Or-nah

A group of workers are placing stones over some mortar between iron bars, bent into twisted shapes; a woman moves around them, bends down, ties, guides, and gives instructions. The workers try to do what she says, without understanding what they are doing. So it goes one, two, three days; and the stones come together, and the Reclining Woman begins to affirm her presence. An elderly man from the southern Hebron Hills recognizes the figure of a woman, and he runs away - his faith forbids making a human picture, you see. His younger friend, however, climbs over the completed “tits” and calls around: "From here I'm not coming down…"

It has been a long way to the Reclining Woman, from the moment the idea germinated until she came into stone. Various trails merged into one path: the experience of the encounter with the desert landscape, an experience which comes along every step of human life on the earth, the will to compensate in a building experience.

The wonder of the materialization of an idea, the image of a mythical woman lying in the desert, silent and as strong as the desert. The search among version this theme in artworks of the past, Goya, Titian, Modigliani, Moore; the journey to absorb the spirit of the location; the contours of the landscape; its materials; traces of human drawings embedded in it long ago. Then the clay model, the dialog with its precise dimensions when it will rise up and be completed; and, of course, finding the way of making it - a little experience, a little thought, a little fantasy and a lot of determination.

Or-nah is not traveling in a train that stops in stations on its way to any final destination. She travels in different trains to various places. Sometimes the train leads her, sometimes she drives the train. Sometimes the train stops in an undisturbed landscape, and Or-nah says: “Here, I am not needed”. Sometimes she stops in a place and she feels: "I will not be requested here”; and there are the blessed locations where she gets off the train and says: "This is my call."

Different trains, different stations, one passenger. In every station, she discovers, she learns, she grows up. How does she manage to gather and connect so many crumbs of thought, matter and intention into one breathing creation, living in peace with itself and in harmony with its environment? Take for example the Doe: with eyes made of pine cones, oak gland swelling its neck, reeds for its legs, terebinth branches for its antlers, and its belly is actually a car wheel, casually thrown out there. The doe is lying and growing, in contemplation at herself and at you, feeling your state of mind at the moment, at peace with the light and with the sunset, with the rain and with the drought, with the bird standing on top of the antler and with the dog couched opposite to it.

Always moving in the changing one, in its countless occurrences; into its one direction, and then it turns around inside and out. The affair with India was inevitable. Or-nah chose to major in Indian culture for her A.M at the Jerusalem University, and she made the research work in cave sanctuaries of South India. She mainly connected with the artwork of the second half of the first millennium AD: they know her private secrets; the selection of the moment in the story, allusions to feelings, freedom anchored in order, movement that is continuous and penetrates the viewer who gets exposed to the creation and ld by it to another place.

Or-nah does not stop twice in the same station, she does not take any rest at the station and she will continue on the same train. Every creation is a new journey. Another study, another stay, more fragmentation into crumbs and more growth, again the selection of the image and the materials, another confrontation with the exact dimensions, and the wonder comes anew, back again, the way one millimeter in a 8-meter high creation makes “the work be rich”.