Love is Complex explores love as a system shaped by technology, language, and emotional expectation. Using artificial intelligence as both a tool and a counterpart, the work examines how intimacy, longing, and vulnerability are mediated through digital frameworks, and how algorithmic logic reflects and reshapes contemporary ideas of romantic connection.

Complex Ties begins with a photograph of an embrace at the beginning of a relationship, a moment filled with promise. This embrace, hinting at the possibility of love, disintegrates into pixels and carefully chosen threads, which are woven into a memory. Just as two systems of threads — the warp and the weft — work together while maintaining their distinct identities to create something new, so do our relationships: two individuals meet and form an optical and emotional illusion of a shared experience.

A collaborative work by artists Adva Kremer and Uri Shifrin Inabi. The installation invites visitors to observe a row of bags carrying values of transition and wandering. The bags, which underwent a process of deconstruction, disruption, and reconstruction, create a composition depicting multiplication and flickering in space — reflecting life as a continuous journey of creation and renewal. The empty space between the bags and their handles represents the idea that home is not only a physical space, but also moments of connection, self-reflection, and shifting reality. The work asks how experiences, memories, and bonds become a sense of home that accompanies us throughout our journey.

sea.zip is a series of seascape photographs interrupted by a pixelated grid placed at the center of each image, blocking the horizon line or the visual core of the scene. The pixels are not foreign to the image; they are sampled from its own palette, as if the disturbance emerged from within the landscape itself rather than being imposed from outside. Moving between sunset, fog, cliffside views, and low perspectives over the water, the works dwell on the moment in which a "natural" landscape becomes an image, and the image becomes a mediated surface. The sea — perhaps the most familiar visual shorthand for openness, freedom, and the sublime — appears here as something that can no longer be seen innocently. The pixel is not a flaw but a condition: a reminder that contemporary vision already passes through screens, compression, encoding, and cultural expectation. The series does not mourn the digital or fantasize a return to an unmediated past. Instead, it lingers in the space where beauty and interruption become inseparable. What is blocked is not necessarily a secret, but the possibility of direct access itself. The result is a paradox: the images leave enough of the sea, the light, and the horizon visible to produce longing, but not enough to fully settle into the scene.

Perfect Match — Fine Tune engages with the idea of the perfect match and the promise of manufacturing it through AI. Using fine-tuning as a method, the work questions how ideals of perfection and compatibility shape contemporary expectations of intimacy.

Ketubah 2020 reconsiders the traditional Jewish marriage contract in the context of contemporary Israeli society. Incorporating data on marriage and exclusion, the textile work exposes inequalities embedded in the institution of marriage and questions who is permitted to participate in its rituals.

In Body Doubles, Kremer examines the representation of women and men in art created predominantly by male artists. The contrast between male and female portraits explores themes of gender equality and body image. Borrowing the term 'body double' from the film industry, Kremer reclaims it to highlight the double standard in the depiction of male and female nudity, questioning the cultural norms embedded in these portrayals.

The Museum of Empiric Values project brings together the history of classical and modern painting with the worlds of digitization and computing, as well as the craft of weaving — arguably one of the oldest crafts in the world. Iconic works of art are translated into binary code (0,1), enabling a reevaluation and questioning of the 'true' value of art today by exposing the fragile structure of art pricing.