Klimt02.net. Shenkar Jewelry Design Graduate Show 2026

Soft Solid by Tamar Barnir

In an era in which the rapid development of artificial intelligence continues to expand its fields of activity and challenge the role of the human as both creator and maker, I chose to explore the tension between human* craftsmanship and artificial intelligence through an ongoing dialogue within the field of Digital Craft.
In the project Soft Solid, I developed a graphic interpretation of the networks that surround us through the material language of beads and 3D printing.
Through an ongoing dialogue between myself and the AI system, each bea and idea function as an active node within an evolving network of relationships.
Their interconnections distribute tension throughout the structure, naturally generating strong, stable, and three-dimensional architectural forms.
Through this process, new structures emerge that highlight the interrelations between biological, technological, and material systems.

Interbody by Ella Accos

Interbody draws inspiration from industrial spaces, mechanical worlds, and the era of modern design. In the project, I develop systems of parts, based on locking, mechanisms, cold connections, and axes on a small scale.
From a combination between advanced and precise manufacturing technologies, such as laser cutting and 3D printing, and industrial materials like aluminum and resin, maximum precision is achieved, giving birth to a new world of connections in the field of jewelry.
This is an almost evolutionary process, in which each part is built from the part that preceded it, until the final and absolute locking of the piece of jewelry

Interbody by Ella Accos

Interbody draws inspiration from industrial spaces, mechanical worlds, and the era of modern design. In the project, I develop systems of parts, based on locking, mechanisms, cold connections, and axes on a small scale.
From a combination between advanced and precise manufacturing technologies, such as laser cutting and 3D printing, and industrial materials like aluminum and resin, maximum precision is achieved, giving birth to a new world of connections in the field of jewelry.

Pendant: Ein Kerem House by Tili Aroch.Leather, hair, aluminium, Jerusalem stone, silver and mylar paper. 2026.15 x 4 x 56 cm.From series: 1:3Unique piece
.
. Photo by Achikam Ben Yosef.

Tili Aroch
Pendant: Ein Kerem House, 2026
Leather, hair, aluminium, Jerusalem stone, silver and mylar paper
15 x 4 x 56 cm
From series: 1:3

Photo by Achikam Ben Yosef

Neckpiece: Ein Kerem Neighborhood by Tili Aroch. Leather, hair, aluminium, Jerusalem stone, silver and mylar paper. 2026.22 x 3 x 47 cm.From series: 1:3Unique piecePhoto by Achikam Ben Yosef.

Tili Aroch
Neckpiece: Ein Kerem Neighborhood, 2026
Leather, hair, aluminium, Jerusalem stone, silver and mylar paper
22 x 3 x 47 cm
From series: 1:3

Photo by Achikam Ben Yosef

Hey sister by Oli Beery

Braid my hair
She lets down my hair, her fingers moving in those familiar motions combing, pulling, tightening; gently, so it doesn't hurt, but firmly enough to hold.
The pleasant feeling, the intimacy that is formed, and how it helps me feel beautiful. Strand after strand, and my braid is complete.
Throughout history, women have devoted a lot of time to arranging and styling their hair, and from the shared time, spaces of closeness, sharing, and female sisterhood were created.
Today, presented to you, four objects are the product of those feelings that occur during the handicraft of gathering and braiding hair.
In the process of working, I explored the actions and accessories that create connections and encounters within the hair, and simultaneously, between one another, I found new ways to merge form and action, creating new expressions in women's hair.

Hey sister by Oli Beery

Braid my hair
She lets down my hair, her fingers moving in those familiar motions combing, pulling, tightening; gently, so it doesn't hurt, but firmly enough to hold.
The pleasant feeling, the intimacy that is formed, and how it helps me feel beautiful. Strand after strand, and my braid is complete.
Throughout history, women have devoted a lot of time to arranging and styling their hair, and from the shared time, spaces of closeness, sharing, and female sisterhood were created.
Today, presented to you, four objects are the product of those feelings that occur during the handicraft of gathering and braiding hair.
In the process of working, I explored the actions and accessories that create connections and encounters within the hair, and simultaneously, between one another I found new ways to merge form and action, creating new expressions in women's hair.

First Body Plural by Rotem Benjo

First Body Plural explores the space between the individual and the collective, between the "I" and the "we." It examines how vulnerability exists within this space.
Closeness inevitably involves exposure, increasing the possibility of being hurt.
The project investigates the tension between belonging and self-protection through relationships of protector and protected, interior and exterior, and whole and separate.
Ultimately, vulnerability is understood not as weakness, but as a necessary condition for human connection.

What Has Yet to Be Forged by Nowar Bishara

This project explores continuity, identity, and the intersection between tradition and renewal.
Inspired by five generations of family goldsmithing, the jewelry examines how knowledge, memory, and values are passed from one generation to the next while taking on new meaning.
Each piece is created from a single sheet of metal, transformed from two-dimensional to three-dimensional form through hand sawing, and incorporates an original stone-setting technique I developed. The recurring links symbolize continuity, connection, resilience, and the ability to embrace change without breaking the chain of generations.

Eli Fridman Korakin

My project explores the connection between body and soul.
Early on, I asked myself how much weight "weight" truly holds, what effects each external change brings and how deeply it impacts the inside mental burden versus physical weight.
In my pieces, I strive to capture the feeling of emotional heaviness and translate it into objects that carry physical presence

MADE IN __ by Jenika Garcia

The project explores an identity shaped through the encounter between Filipino and Israeli cultures. As a second-generation immigrant, I examine the complexity and challenges of growing up between two cultural systems, and the ongoing attempt to understand where I belong and what represents me.
MADE IN __ consists of wearable objects composed of different parts that connect to one another. Like identity itself, they move between two perspectives, creating an ongoing dialogue and assembling a new home. one that does not fully belong to either world, but is formed within the space between them.

Jhaz by Maryan Ghanim

This project explores the Druze dowry tradition and the handmade crafts passed down between women within the family.
It examines how these practices embody memory, knowledge, and cultural values that are transmitted across generations.
Drawing inspiration from the dowry my mother prepared for herself, I reinterpret patterns of embroidery and lace into contemporary jewelry, creating a personal dowry of my own.
Through this process, the jewelry becomes a bridge between family tradition and contemporary expression, giving new meaning to inherited craft and cultural identity.

Alive by Meriam Ghantous

My project explores the concept of memory after death and how it can play a central role in helping people cope with loss.
The collection focuses on the way a person’s presence continues to exist through the traces they leave in the memories of others—through images, sounds, and scents. It also examines the relationship between memory and religion, where spiritual rituals and religious practices form an important part of the grieving process.
In Christianity, the rosary and the church bell are used as means of spiritual connection and remembrance, providing a sense of peace and comfort.

Best of both by Noga Heller

My project was born out of a personal, dual and ongoing relationship with two worlds that have accompanied me throughout the years- jewelry and fashion.
For me, they have never existed as separate fields, but rather as two languages that shape the body, identity, and the way we choose to present ourselves.
Throughout history, there have been many points of intersection between jewelry and clothing, and at times the boundaries between them have blurred.
Over time, a perception developed that distinguishes between them as two separate fields. This shift in perception led me to re-examine the encounter between them.
The project consists of four objects, each offering a different mode of connection between metal and textile. Each object develops a different dialogue between the materials, and proposes a renewed way of looking at them and at what is created through their connection.
Between clothing and jewelry, a space of new possibilities opens up.
For me, this is the Best of Both.

Yemenite Step by Adi Hilel

The project observes the life of Habbani Jewish women through the systems of visual codes, exploring the colors, shapes, and materials of her garments, and in the jewelry she adorns.
Ultimately, the project focuses on three pivotal transitions in a woman's life: entering the fertility cycle with the onset of her first menstruation, wedding rituals, and exiting the fertility cycle.
My own Henna ceremony became the starting point for this project, where I wore the traditional attire of Habbani Jewry. The act of dressing was not merely ritualistic or aesthetic, but an experience of identity.

40 grams per square meter by Ron Kachko

The project critiques media consumption by treating a newspaper, a material whose content is valuable and whose worth decays within a day.
Through an operation of freezing the material in time, the work gives the newspaper volume and rigidity that contradict its ephemeral nature. It reasserts its value, turning it from a time-sensitive information medium into a present physical object.
Thus, 40 grams per square meter reexamines the concept of “hyper-reality” and forces the viewer to stop and reconsider mediated reality and the media we consume.
I worked on techniques for 3D pattern printing, pressing and hand- and machine-sewing.
All work was made from brass, newspapers and sewing threads.

Polytrace by Yael Porat

Polytrace explores the relationship between control and randomness in the creative process, examining how surrendering to a material process can become a design tool.
Through working with polymers under conditions of heat and pressure, I came to understand that the outcome is not determined solely by my decisions, but is shaped through an ongoing interaction between the goal intention and what unfolds within the process itself.
Rather than attempting to control the outcome I chose to allow the process to lead as a way to learn from the behaviours that emerge through the interaction between the material and the technology, and to integrate them as an inseparable part of the design language.
In this way, each piece of jewelry emerges from the tension between control and surrender, offering a new way of thinking about the relationship between the maker, the material, and the
outcome.

Polytrace by Yael Porat

Polytrace explores the relationship between control and randomness in the creative process, examining how surrendering to a material process can become a design tool.
Through working with polymers under conditions of heat and pressure, I came to understand that the outcome is not determined solely by my decisions, but is shaped through an ongoing interaction between the goal intention and what unfolds within the process itself.
Rather than attempting to control the outcome I chose to allow the process to lead as a way to learn from the behaviours that emerge through the interaction between the material and the technology, and to integrate them as an inseparable part of the design language.
In this way, each piece of jewelry emerges from the tension between control and surrender, offering a new way of thinking about the relationship between the maker, the material, and the
outcome.

In her Form by Yuval Ron

The female body obtains potential space for the creation of life. It is a body that serves as a vessel, constantly transforming.
Social codes dictate the female body, influencing how it should move, which gestures are considered "feminine", and even the proper age for pregnancy and motherhood.
Diverging from these norms can be perceived as a deviation, a distortion or a threat.
However, this very divergence also exposes the body's natural character as an elastic and mutable material.
The objects generate tension and even bodily distortion, however they do not seek to present the body as flawed.
Through this deviation, I choose to celebrate the materiality of the female body, viewing it as a space of creation, change and becoming.
The formal language draws inspiration from fertility figurines, the vulva, and vessels like the womb or jugs, out of a desire to empower the female presence.
The figurine, as a symbol and a fertility amulet, transforms from a static object into an active one.

Khaima by Nour Saaida

A khaima [tent] is a home anchored into the depths of the earth at five points and supported by a central pole.
This central pole is the mother; the axis around which the home and the family revolve in their daily actions.
The clattering of dishes in the kitchen, the movement of laundry, and the bowing in prayer all integral parts of daily activities within the khaima.
In every action, there is life; it creates a system of sounds. From the bond between movement, faith, and life, sound is woven into a presence.

Albi by Yara Shehsdeh

The project explores family dynamics as a tapestry of memories, customs, and traditional crafts that guide daily life.
As a designer, I operate within the social and cultural fabric of the Arab society to which I belong.
At the heart of the project is the use of Palestinian embroidery, specifically the cross-stitch and the color red.
Through this, I embroider the thread of familial and social continuity, shaping the project's identity in a colorful and dynamic way that is rooted in a continuous legacy passed down from generation to generation.
From the diverse array of motifs characteristic of Palestinian embroidery, I chose to work with the star and the heart-headed tree.
The star, which always appears in multiples, symbolizes unity, while the heart motif speaks to continuity and fertility.

WoodStone by Gil Shoshani

This project explores the tension between raw materials and their residue, advocating for material sustainability. Craftsmanship has been an integral part of my life since childhood in my father’s workshop. Today, as a Jewelry Designer, I have embarked on a journey to discover the correct raw material to serve my creative process. During a routine emptying of waste bins, mounds of sawdust revealed themselves as miniature cliffs; forming a natural pattern symbolizing the passage of time. The desire to encapsulate this moment gave rise to the project: WoodStone.
The connection between this material and the human body is materialized through classical goldsmithing techniques, bridging environmental responsibility with high-end pieces.

Rozochka by Anna Tsur

Rozochka emerged from the landscapes of my early childhood in Russia, tracing back to my roots and memories. I spent my earliest years by my grandmother's side, surrounded by lush nature and blossoms. Alongside this deep connection to the outdoors, warmth and comfort often came from within the home, through the traditional objects that adorned the space.
The visual starting point of the project is the iconic rose illustrations that decorate traditional headscarves and Matryoshka dolls. These motifs were created to bring summer blossoms back to life and infuse color into the heart of the cold, dreary winter. For me, these objects represent a tangible memory and a feminine legacy, passed down from generation to generation in an attempt to preserve warmth and beauty against the passage of time.
In the series of works I created, I chose to deconstruct and reassemble this visual heritage. The soft, two-dimensional floral paintings have been transformed into leather flowers, bound together through intricate metalwork and stone settings.

In:To by Natasha Wiener

The project In:To explores the experience of immigration and the formation of a new identity. Rooted in the value of Zionism, immigrating to Israel was a natural decision. The migration process, however, was accompanied by a sense of disconnection from one’s place of origin. Over time, a new sense of belonging emerged through the accumulation of people, encounters, and experiences. The concept is based on a single sheet of paper that, through layering, becomes a strong and complex material, reflecting the accumulation of memories, experiences, and encounters, alongside the development of a multicultural identity over time.
The colour orange represents change and the courage to embrace it.

Shenkar Jewelry Design Graduate Show 2026

Artist list

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Shenkar Jewelry Design Graduate Show 2026

Artist list

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