The infinite expanse of Judea and Samaria landscape is created with the masking tape, within are drawn archetypes of
temporary dwelling structures: the house typology of the settlers – the Trailer and the Cabin. There are no people or plants in the paintings, only structures of yellowish hilly landscapes. The structure, texture and tone of the masking tape build the format of the works, which is also an integral part of the act of painting. All the Outposts drawings were painted by
observing photos from internet news and blogs websites.
The work deals with two opposites:
A Romantic-Pioneered approach that pushes the man who seeks to take over the alleged derelict territory and implement there a spiritual vision at the expense of his and his Arab neighbors' personal lives, opposite to the illegal trampling (settling on land) of the action that hurts the nesting of the local species. The outposts' phenomenon is part of broader contemporary situations of migration, occupation, and exclusion.
The Outposts are the home of idealistic, hopelessly romantic Jewish outlaws, who believe in the sanctity of the holy land and dream of Greater Israel. They are the pioneers of contemporary religious Zionism, who risk themselves and their families, trying to fulfill a great dream.
An Outpost is a lonely house in the endless prairie of the Israeli–Palestinian conflict.