In her new exhibition, Azal,1 shlomit bauman shows a series of ceramic works that may be viewed as ontological hybrids crossing over conventional boundaries between art and design. The works possess deep symbolic and ideological meaning on various levels, among them political imagery; historical contexts of subjects and their exhibition; technological and craft processes of their creation; emphasis on the ceramic material itself – the terracotta clay composed with S5 and, finally, the contemporary fundraising process via the Internet. For an observer, who is well-versed in history, craft and methodology, the deeper he or she is immersed in the contemplation of these works, the greater he or she becomes aware of their un-categorising traits.