Shenkar Jewelry Design Graduation Show 2025

Artist list

Rahaf Asad, Ofir Azrad, Ofir Berkovich, Dafna Dabbah, Jwana Ghanadry, Gal Hadjadj, Shefaa Jbareen, Rana Kaabiya, Yasmin Kaufman, Mika Kolman, Li Levy, Sajeda Mokary, Adar Nimni, Shelly Rephael, Aviv Sade, Ashgan Waked, Noa Yankovich

This year, we celebrated the department’s 25th anniversary—albeit belatedly, due to the war. The jubilee was marked with Generation, an exhibition at Periscope Gallery, where alumni were invited to collaborate with lecturers and with each other to create new works together. In doing so, we honored and upheld one of our core values, present since the department’s founding: the value of family. We strive to create a supportive environment for our students, to foster mutual responsibility, and to maintain lasting connections with our alumni—elements that have always played a vital role in our graduates’ success, especially in times of crisis. From the beginning, the department has sought to be a second home for all its students: a challenging yet respectful and inclusive space, where mutual assistance and collaboration are the rule, not the exception. This value guides our team of lecturers and administrators—many themselves graduates of the department—and serves as the firm foundation for all our pedagogical values: fostering excellence and innovation, mastery of both traditional and cutting-edge technologies, encouraging creative thinking about body interfaces, and cultivating personal expression.

It is perhaps no surprise that the challenges of the past two years led the 2025 graduating class to explore themes of belonging, identity, protection, and connection—some turning inward, others toward cultural or familial traditions, and some embarking on spiritual journeys.

As is now almost taken for granted within the department, most projects employed advanced technologies such as 3D modeling and printing, laser cutting, and more, alongside traditional metalsmithing techniques and a wide range of materials from various creative disciplines.


Aviv Sade turned to childhood memories of sailing trips with her father, drawing inspiration for a collection of body adornments. Rope, plastic, and metal combine with maritime imagery such as nets, buoys, and sails to create vibrant, dynamic wearable objects.
Seeking a sense of protection and drawing from her Moroccan heritage, Ofir Azrad examined charms — primarily those protecting from the “evil eye.” Using contemporary design language and masterful metalsmithing, she explored how replication, scale, and deconstruction affect the emotional charge of her spectacular jewelry.

Sajeda Mokary drew strength and inspiration from a spiritual and physical journey—the Hajj, pilgrimage to the Kaaba in Mecca. She describes: “My journey began with an exhausted spirit burdened by worries, and ended with a spirit that was calm and serene.” Through delicate silver jewelry inspired by plant forms, she conveys the sense of spiritual elevation she experienced, the gentle embrace of serenity that sweeps away the worries of daily life.
As a devout Muslim woman, Ashgan Wakad focused her mind and heart on the connection between human being and Creator, inspired by the geometric forms of Islamic architecture. Her jewelry traces a path from the outer world inward—toward the heart and the inner light.
Bold, colorful jewelry full of humor and joy is Jwanna Ghanadry’s way of expressing a different kind of spiritual journey—a dive into the depths of imagination and the soul. As she puts it: “I shed fear and doubts from my soul, surrender to the process, and let my heartbeat match the flow.”
The jewelry and art objects of Shefaa Jabareen express a deep connection between a person and the land of their birth. Using stone along with remnants of metal and concrete, she reflects on the relationships between body, material, and value.

In her charged project “Burden”, Mika Kolman looks inward—into her own body—in an attempt to reclaim it from manipulations of male power and control, and to confront her personal trauma. Through large-scale metal and felt jewelry, Mika externalizes female internal organs, “looking at them, befriending them, and beginning the healing.”
Shelly Raphael’s jewelry, made of metal and delicate organza fabric, also offers a glimpse into the body’s interior, creating an experience that treads the fine line between intimacy and alienation, attraction and repulsion. She aims to create “a moment you don’t want to see—but also can’t stop looking at.”

The relationship between inside and outside also engaged graduates Li Levy and Ofir Berkovich—though they focused on the inner and outer aspects of the jewelry itself: Li examined the internal structure of the classic solitaire ring, exploring the tension between skeleton and shell, the visible and the hidden—combining silversmithing with 3D-printed plastic. Ofir Berkowitz’s work deals with that whichis near us yet eludes our gaze. Her elegant, seemingly minimlist jewelry reveals — through touch or movement — an unexpected inner element, a personal, intimate layer akin to aspects of identity we choose when and how to expose.
Rana Kaabiya’s jewelry explores the experience of existence on the margins, the subtle and wondrous events that may arise in unexpected, seemingly remote or disconnected places.


Some projects were born as direct responses to the war: Yasmin Kaufman’s family was forced to evacuate their northern home at the war’s outbreak. Her jewelry—combining goldsmithing, stone setting, and electronics—creates “inner navigation tools” that guide her to safe harbor through an inner light.
In her project “48”, Rahaf Asaad grappled with the inability to celebrate her Palestinian identity and the tension between belonging and alienation. The formal and material complexity of her jewelry mirrors the complexity of identity she experiences.
The longing for her partner, called to reserve duty when the war began, led Noa Yankovich to create a series of jewelry pieces that preserve traces of touch with another—and at times even create a symbolic substitute for touch, attempting to bridge the gap.

Physical touch is embedded in Adar Nimni’s series of bags. Made from vegetable-tanned leather, the bags embody the act of holding and take on a personal, intimate dimension—like jewelry worn close to the body.
Gal Hadjadj’s project arose from the visual and physical waveform of the word “love”—the embodiment of energy flowing from one person to another.
Dafna Dabbah finds the link between perception and consciousness in moiré patterns—optical illusions created by overlapping repetitive designs. In her jewelry, intersecting repetitive shapes around an axis create a dynamic visual system, where every small change engenders a ripple.



Packshots & fashion photos: Noi Arkobi
AI: Noa Tamir (Rana Kaabiya photos: Adi Hillel)
Hair & Make up: Beauty Crew - Gili Algabi
Models: Oli Beery, Rotem Benjo, Ariella, Ron Cachko, Alexander Levin, Bobo