The eye is a lucid mirror, and at its center, the pupil captures one figure within another, blurring boundaries between entities and merging identities.

An ever-changing gaze constantly shifting in the exhibition space. The image of the living body is intangible, composed of light, movement, and duration. It is embedded within pipes and external electric cables, which are the life support system of the patched city. Barn-owl sounds shimmer among them.

In a parallel space, the mirror is also tied to the act of self-photography: close-up images of the body’s sensory organs—touch and sight—instruments of perception and creation.

The Hebrew title Mar’a-Ayin (מראה-עין) echoes the Halakhic term Mar’it Ayin (מראית עין), which warns against misleading appearances. The installation stages a visual and conceptual ambiguity—challenging what is seen, what is shown, and what is assumed.

This tension reflects the dissociative social condition of our times—a split between body and mind that enables the illusion of routine and function, even while living at a prolonged state of war and destruction