Fishing Hertz, 2023

Fishing Hertz, Sound performance commissioned by Moby – Bat-Yam Museum.                                                                                                                                  Collaboration with Ariel Karash


Killing – Healing, 2022

Killing – Healing is a project started by researching Ecological Succession which is the process of change in the species structure of an ecological community over time. I was interested to see what comes after the chaos and the first life that emerge from it.

I created urban weapons from found objects in Tel -Aviv and did a sculpture performance to create the shape of the clay structure I built. From the beaten clay sculpture I grow wheat germ, for me, it was marking the energy and violence the clay absorbed and the transformation of this energy moving up the plants transforming violence into life.


Killing – Healing, Clay, Found object(Urban weapons), Wheat germ


Documention of performence






Killing – Healing, Installation view, Clay, Found object(Urban weapons), Wheat germ















Urban Weapons



















From Nowhere to Nowhere . 2, 2022

From Nowhere To Nowhere is a project I made as part of an outdoor residency at Shdemama –  which is an ecological community based 30 m south of Tel-Aviv

I used the urban image of a bus station to create a portal where one can have a non-physical journey.

As part of the exhibition, I invited musicians- colleagues – friends to play music inside the portal. And on the top, I grow Blue corn to represent the connection between the ground and the sky. In many indigenous cultures from south America such as the Inka or Aztek, Corn was the main food source and represent the connection with the gods, used for ceremonial and ritual purposes.

I would like to say thank you to all the musicians and friends that helped me realize this project, couldn’t do it without your help and support :

Maya Dunietz, Rafi Balbirsky, Yam Yam and Sharon Reuveni, Eran Nave, Kimono -Itay Sendowski, Francis, Yahli Himan Shohat, HMS -Haim Vitali, Max Gertzen and Sharon Reuveni, and to all the volunteers from Shedmama residency. Special thanks to Smulik Twig.

Photos by Omer Messinger.


From Nowhere to Nowhere, Metal, Mud, Wood, Ground, Blue Corn






















Performances: Maya Dunietz







Rafi Balbirsky



Eran Nave


Yam Yam and Sharon Reuveni


HMS -Haim Vitali, Max Gertzen and Sharon Reuveni


Kimono -Itay Sendowski, Francis, Yahli Himan Shohat





49, 2022

49 is a sound installation, as part of the exhibition ESTATICA at Zaratan in Lisbon, Portugal.

In many Buddhist traditions, 49 days is the total mourning period, with prayers conducted every 7 days, across 7 weeks. These Buddhists believe that rebirth takes place within 49 days after death. So these prayers are conducted to facilitate this journey of the deceased into the afterlife

49, bottles, speaker


Performers: Lea Kolitinsky, Roi Carmeli





From Nowhere to Nowhere, 2022

Installation view, Mixed media




Trasformation, Aluminum casting, 150X 50 cm


Untilted, Iron


Untitled, Sand, wax


Untitled, Aluminum Casting


Guardian, Ceramic, Candles, Aluminum Casting




Untitled, Aluminum Casting

Mother Opium, 2022

Guest artist as part of Sagit Mezamer show at Mamuta – Hansen house.


Untitled, Aluminum casting


Untitled, Aluminum casting


Guardian, Ceramic


Guardian, Ceramic, Candles


Guardian, Ceramic


Ghosting, 2021

A duo show with Elad Larom at Barbur Gallery in Jerusalem.

Curated by Avraham Kritzman

A 3d scan of the exhibition made by Smadar Tsook :


Installation view, Barbur Gallery


Installation view, Barbur Gallery




Ghost, porcelain, kinetic eyes, 150 x 60 cm


Ghost, porcelain, kinetic eyes, 150 x 60 cm


Installation view, Barbur Gallery


Self-portrait, Wood, 350 x 200 cm


Self-portrait, detail,  Wood


Guardians, Wax, various sizes


Untitled, Glass, Painting by Elad Larom


Untitled, Glass, 30 x 20 cm


Untitled, Glass, 30 x 20 xm


Mother of all snakes, porcelain, Aluminum, 90 x 20 cm


Mother of all snakes, Porcelain, Aluminum, 90 x 20 cm




Mumble Mood, Pallet, wood engraving, Tenis balls, 120x 100 cm


Untitled, Wax, Painting by Elad Larom


Burning bush, Wood, Wax, Painting by Elad Larom


Disintegrating, Porcelain burned by a pit fire on wood, 90 x 60 cm


Disintegrating, Porcelain burned by a pit fire on wood, 90 x 60 cm


Disintegrating, Porcelain burned by a pit fire on wood, 90 x 60 cm

Burrowing – Creative Lab residency, 2020

This is a collaborative project with artist Cameron Orr. We have been practising shamanic meditation using drumming techniques popularised by anthropologist Michael Harner. We have been using this method to inform and develop our work – specifically in the creation of collaborative paintings and music.

While on residency at The CCA, we experimented with music and sound – drawing inspiration from shamanic drumming sequences and creating our own contemporary interpretations. We created functional meditative tools using synthesizers, electronics and non-traditional instruments.

Throughout the residency, we hosted participatory sessions of sound meditation. The sessions lasted around one hour and a half and involved a private viewing of the works-in-progress, an introductory explanation of the project, and finally a guided shamanic meditation session. Participants listened to the audio sequence we made with their eyes closed and were given a set of guides to use in their journey. At the end, they were given the option to draw or write about their experience and discuss those with us.

The sculptures were made by me and were installed to serve as guardians to protect the participants and us during the shamanic journey.


Installation view, CCA Creative Lab

Installation view, CCA Creative Lab

Installation view– recording studio

Journey #3, collaborative painting with Cameron Orr, 150 x 127 cm


Journey #1, collaborative painting with Cameron Orr, 150 x 127 cm

Journey #2, collaborative painting with Cameron Orr, 150 x 127 cm


Tempest, collaborative painting with Cameron Orr, 150 x 127 cm

Flower storm, collaborative painting with Cameron Orr, 150 x 127 cm

Gurdian – Apu – Mountain spirit, Ceramic, 70 x 40 x 30 cm

Gurdian – Apu – Mountain spirit, Ceramic, 70 x 40 x 30 cm

Guardian, Ceramic, 60 x 30 cm

Guardian – Shaman sausage man, Metal, Rubber, 220 x 60 cm


Guardian, wood, 40 x 20 x 4 cm

Guardians – Candle snakes, wax

Collaborative scroll of participants after doing the sound shamanic meditation

Collaborative scroll of participants after doing the sound shamanic meditation

Untitled, collaborative Drawing with Cameron Orr, 72 x 50 cm

Achterhaus, 2020

For my residency at the Achterhaus I decided to take a playful approach and take the time to explore Hamburg and get inspired by it.
A week after I arrived I decided to contact Esmeralda Rosenberg – a well-known local fortune teller and ask her what should I do with my time at the residency. I wanted to see what could come out of this experience of going to her and hear her projections about my future.
The work below( sculptural objects, lithography and woodcut prints) are inspired by our meeting.

Sausage man, styrofoam, wood, plasticine, 70 x 60 cm

Untitled, styrofoam, wood, candles, plasticine, 70 x 60 cm

Preparation drawing

Candle man, woodcut, 50 x 40 cm

Untitled, wood, wool, shoes, 183 x 50 cm

Untitled, woodcut, 50 x 35 cm

Untitled, styrofoam, spray paint, 150 x 60 cm

Portal, 2020

As part of my recent residency in Peru, I worked with anthropologist Dario Astengo to connect me to Don Humberto Soncco Quispe and Guillermo Soncco Apaza, esteemed “Paqos”- spiritual leaders from the Q’eros Andean community. I asked them to conduct a ceremony to bless the clay I was planning to work with. They led a Despacho ceremony, based on the concept of Ayni (=reciprocity)- sharing one’s gifts and energy with nature.
Later, I used the blessed clay in its liquid form to create a large scale wall print of an Inca gate. In the Incan tradition, the gate represents a portal to the spirit world.

As part of this installation, I created a video work called T’uru which means mud in Quechua. This video work accompanies the installation and documents the process of the Despacho ceremony.



Portal, Blessed clay, 380 x 250 cm






T’uru (18:10)


T’uru, still from video (18:10)








Durga, 2019

Goddess Durga symbolizes the divine forces (positive energy) known as divine shakti (feminine energy/ power), that is used against the negative forces of evil and wickedness.

Durga is a commissioned sculpture that was exhibited as part of Kraut Kunstfestival Lucerne.


Durga, Modular metal sculpture, Ceramic, Wood, Aluminum, Bronze, Straw, Plant, 250 x 300 x 180 cm

















The Advantages of Poisonous Plants, 2019

Press release :

Zaratan – Contemporary Art is pleased to announce the opening of “The Advantages of Poisonous Plants”, a solo exhibition by Roi Carmeli, which presents a series of new works produced during his residency in Lisbon.
Carmeli proposes an ironic interpretation of the myth of Adam and Eve, highlighting the complex relationships between the innate material properties of symbols and their meanings in the contemporary world.

His residency at Zaratan was supported by Creative Scotland.

Text by Gemma Norris



Totem (An Ode to Adam & Eve), Collaboration with Tom Krasny, Plaster casting, 150 x 52 x 42 cm






Mother of All Snakes, Ceramic, Paint (tile panels mounted on wood), 70 x 50 cm


>|<(^)_-, Engraved plaster, Paint, 30 x 24 cm




Bacalhau, Glazed ceramic (tile panels mounted on wood), 66 x 34 x 40 cm




Adam&Eve, Found object, bent candles, time-specific duration, 43 x 36 x 40 cm

Guardians (in progress), Handmade candles, Site-specific dimensions and time-specific duration










Untitled, Fan, DC motor, wood, marker on wall, site-specific dimensions








Apple, Video HD, 1 channel, colour/sound, duration: 12 sec(loop),


Apple, Video HD, 1 channel, colour/sound, duration: 12 sec(loop), site-specific under the floor of the gallery


Hibernation, 2018

Hibernation is a collaborative project with Tom Krasny as part of our residency at Tenjinyama Art Studio in Sapporo, Japan.

The sculpture is a dual self-portrait of us getting eaten by a bear, which was conceived to relieve the tension created from constantly hearing bear references on one hand, and not encountering any bears in reality, on the other. Bears can pose a very real threat even in urban territories, perhaps due to food shortages in their natural habitats.
There are a lot of pop culture icons feeding on bear mythologies.
Additionally, The Ainu, Japan’s indigenous people, worship bears but also sacrifice them in a ceremony called “Iyomante“.
There was a kinetic element in the exhibition, ringing a “bear bell”, which the locals carry to alert the bear to go away when they travel in nature. The prints are made using only plants from Tenjinyama park, iron powder and mixed with water from lake Akan which is a spiritual place for the Ainu people.



Self-dual portrait getting eaten by a bear, Wood, wire, paper, fabric, bamboo, 200 x 90 x 70 cm


kinetic sound sculpture






Untitled, Eco prints, 200 x 90 cm






Untitled, Eco-print, 50 x 40 cm




Untitled, Eco prints on fabric, 100 x 90 cm













Beacon 2.0, 2018

Beacon 2.0 is a neon-sound installation commissioned by Mekudesht Festival for contemporary Art and Music, Jerusalem. The installation draws inspiration from ancient fire beacons and their historical use for signalling, whether imploring for help, or declaring a victory. Beacon 2.0 suggests a contemporary interpretation of this old-world way of communication and looks to capture the chaotic movement of burning fire in digital means.

Roi Carmeli, 2018


Beacon 2.0, Neon and sound Installation, 200 x 120 x 120 cm








Holy Wave, 2018

Holy Wave is a group exhibition curated by Roi Carmeli, with work by Ayelet Ben-Dor, Jedrzej Cichosz, Uist Corrigan, Roi Carmeli, Judith Leupi, Jonny Lyons, Tom Krasny, Tim Sandys and Alex Stursberg.

Part of Glasgow international across the city programme:

Holy Wave touches on the connection between art and ritual; a connection which is less obvious today, as art becomes increasingly self-reflective, and religious rituals abide by rules stemming from years of unchanged worship. It remains essential, however, in understanding art’s role in contemporary society and spiritual life. The artists view the art object as charged with power; a combination of intention and action; of emotions and thoughts that cannot be separated from material and labour.



Four Legged Island, PVC tubes, Foam, chicken wire, foam, fabric,  240x160×160 cm




Self-portrait as a migrant bird, Metal,  car body filler, cardboard, resin, fabric, graphite, 183x 110×60 cm






Skara Brae at twilight, Ceramic, Candles, 130x160x70 cm






Earthly Delights, work by Jedrzej Cichosz, 400x 600 cm


Orgel, work by Judith Leupi, 240×120 cm


Gatekeeper, work by Tom Krasny, 120×90 cm


Dialling Tone, work by Jonny Lyons


Vessel (3 of 5), work by Alex Stursberg, 90x30x30 cm


God of Health and Safety, work by Tim Sandys, 190X200X100


Animal Magic, work by Ayelet Ben-Dor


Installation view

Don’t forget to bring me back, 2017

Mr.4 Legs, Ceramic, 60X25X8 cm








Mr.3 heads, Ceramic, 60X20X20 cm






Untitled, Ceramic, 62X30X25 cm




No where to run, Ceramic , 65X65X8 cm






Pig, Ceramic, 60x20x20 cm




Installation view, Watercolors, Ink


Mask, bark, plexiglass, wax, Rope, 40×20 cm


Mask, Ceramic, 40×20 cm










Installation view



This is not a mask, 2016

Installation view, Ceramic, wood, watercolors, Graphite


















Cave drawing, Watercolors, Graphite, 84 x 59 cm


Cave drawing, Watercolors, Graphite, 84 x 59 cm


Cave drawing, Watercolors, Graphite, 84 x 59 cm



Cave drawings, Watercolors, Graphite, 42 x 30 cm


Cave drawings, Watercolors, Graphite, 42 x 30 cm


Cave drawings, Watercolors, Graphite, 42 x 30 cm


Cave drawing, Watercolors, Graphite, 84 x 59 cm




It’s better to sweat than cry, 2015

Installation view, Graphite on wood


Wood cuts prints




Installation view


This is not a mask, Sound installation documentation


This is not a mask, Sound installation, Wood, Graphite, Water solenoids, Micro controller




Beer Aboulafia, 2014

In this project I curated an exhibition on a beer bottles and after made an event to lunch the beer I had brewed.
The exhibition includes 50 different artists that made the labels for the beer.














Beer opener


Beer Aboulafia commercial , many thanks to Dor Fadlon, Tom Krasny, Boaz Debby and Uriel Hartov.
Music by Zohar Shafir and Alex Drool.



Uriel hartov                                                                                                                                      Sharon Fadida

Irad Lee

Yosi Asulin

Itay Sandovsky

Sahar Mor

Dudi Malka

Avi Nevo

Audri Collins

Michal Makaresco                                                                                                      Dan Schmahl

Oded Vertash

Experiment.1 , 2013

Kinetic sculpture, mixed media, 140x80x60 cm. Collaboration with Tom Krasny

Experiment N.7, 2013

Installation view, speakers, Glass, Feathers, Micro controller











Black Music, 2012

Black music, Sound installation, 120x100x25









One game only, 2010

Shot with Phantom HD 1000-1500 frame per sec


Bowling shoes, 2010, Glass casting