PINHAS

The ceramic series Pinchas began with a small rubber hand-puppet head Yael Jarzin found by chance.
Something in its face reminded her of her father- a young pilot of the 1950s and a childhood hero.
From this modest object, a character began to emerge. Jarzin imagined Pinchas as a blue-collar worker in 1950s Haifa: hardworking, restrained, slightly naïve, and quietly heroic.
The original head became a kind of prototype- repeated, cast, painted, pierced, stacked and transformed.
Through these variations, Pinchas moves between object and figure, personal memory and cultural image, innocence and the weight of work, identity and Israeli masculinity.