Perhaps the most ethereal of these exhibits is Dafna Rehavia’s “Footsteps in the Sand,” like a surrealist boutique where nothing/everything is for sale. An old wooden chair cocooned in string hangs from ceiling, its shadow cast on the wall. Tiny books occupy a shelf; a rusty model-railroad track wrapped in yarn runs up the wall and across the ceiling. There are two sandboxes, one with a bench you wouldn’t want to sit on, on account of the nails sticking up, and despite the three pairs of gold-painted shoes tucked underneath. Incorporated text warns of the “The Trapp of Dualism.” So many elements are, like the chair, netted, in string or thread. Lots of white wall. The artifacts are all worn and faded, suggestive of former colors and heavy use, like objects of devotion we can neither surrender nor save."
Clinical Journal of Art Therapy :
Cover page: " Woman in the Window" .
An article: Repositioning artworks from patients suffering from Anorexia nervosa in gendered, socio-cultural context: A self- reflective study