The exhibition features two big central sculptures, a readymade object of modest size and location, and drawings. Those four options offer an array of interweaving meanings as the viewer attempts to unravel the secret.
The two main sculptures are tires leaning against the wall creating a circular space in their center like a small tunnel that ends in a blocked wall, and "roots" supporting each other, almost falling because of the unrealistic relation between its size and light weight, since they are made of paper. Both sculptures are big making a strong presence that corresponds with the traditional role of the tire; however, they are also weak, supported, empty, frail, and castrated.
The main character in Efrat Klipshtein's works is air: air locked inside the "roots", the tires and the trail between them, air locking the ducks in the net, and air coming out of the water sprinkler. The air locked in those works directs the attention of the viewer to the surrounding setting, or in other words the form. Klipshtein suggests a few sophisticated ideas, from the drawings to the invented form, that define space, lock air and highlight the helplessness. This secret inaccessible air (it's only our guess that it's there inside the tire, the root, between the lines) defines the form that might become a trap. At the same time, the viewer discovers a tempting and attractive body where one can hide, and maybe in this secret cave one could finally breathe.

an excerpt from a text by Anat Betzer