Bristol paper
Modular origami
Folding: Thao Kotle, New-York and Uyen Trang and her team, Vietnam
Site-specific installation

H: 255 cm, W: 50 cm

An abstract wall-piece at the corner of the exhibition's entrance wall simulates a black vine, which, like a parasite, clings to the structure. Mozer uses a modular-origami technique, in which identical units, folded in the traditional method, are inserted one into the other to create a 3D body. The technique is sometimes called Golden Venture folding after a Chinese ship which carried migrants seeking refuge in the United States. The refugees, who were detained for a long period of time, use this technique to create items that helped them fund their migration processes.

The many units that make up this work were diligently folded by workers from the Far East, with whom the artist fashioned reciprocal relations. This work celebrates the art of origami, which developed in the Far East. Yet at the same time raises for discussion questions on work relations and trade in the global market.

On the Edge - Israeli Paper
Curator: Anat Getenyu
Group Exhibition, 03.2017 - 07.2017

Photography: Hadar Saifan, © MUSA - Eretz Israel Museum, Tel Aviv Parasite Photo Gallery >


"120 km" is a carpet, named after the 120 km-journey of the emperor penguin. Meticulously designed, the carpet's unique form invites viewers to let their eyes roam over the carpet, where each angle of observation offers a new view of the road, rendering a different picture of the entire journey.

When we go on a journey, we are always far away from home and close to ourselves. The story of the penguin's journey is open to personal interpretation. The more we look at this amazing journey, the more we understand that you can never see the whole picture. We live in perpetual movement. This project presents an opportunity to take a moment and contemplate the movement in our lives. To what extent are we together, or alone, in our personal - and common – journey?

The carpet is made of felt and comprises more than 500 laser-cut slices. It is 120 cm wide, 150 cm long, and 8 cm high. There are 15 holes in each slice. Some 8,000 holes were woven together in this project alone. Each slice was designed to produce a composition that conveys continuity and enables the clear distinction between the penguins.

The mountains, plains, and outlines of Antarctica as seen in aerial photographs were a source of inspiration for this work. This project makes no claim to set boundaries to the journey; only to provide a different viewpoint of it. It is an attempt to outline the penguins' dominating urge to migrate and the personal story of each one of us.

Photography: Oded Smadar 120km Photo Gallery >


Salt-it. It is the surprising result of my fascination and desire to work with disparate substances, exploring their interaction and outcome. Salt and white cement: can they be bound together? How do they bind? I embarked on a journey to find out, and my only guideline was to keep it simple, using only these two mundane, inexpensive and available materials.

In this project, I have designed an object that joins extremities by uniting white, black or orange salt from the Himalaya with white cement: the organic with the industrial; the natural with that which is manmade. I was almost a bystander, enabling the material characteristics of the substances do the work themselves, creating a powerful, visually rich object.

Photography: Oded Smadar, Nilly Mozer Salt-it Photo Gallery >


Magic. I find magic in mundane things, in those simple, "transparent", taken for granted objects. I look for the unexpected in places that have become banal as a result of routine. This work reopens the obvious, exploring it from different angles and examining additional inherent values in it. Stripped of their functional context, with their aesthetic potential under review, the stapler pins have become a raw material. No longer hidden inside the stapler, they are directed outwards, creating texture and various fascinating geometric forms. The pins create a dynamic, playful platform – one can shift them, remove them or add them to the platform with a variable rhythm.

This work connects two transparent materials: Poly (methyl methacrylate) and stapler pins, each transparent in its own way. The connection between these two materials creates a three-dimensional space whose form, material and context I find surprising. It is a playground for pins.

Materials: Plexiglas bended and laser cut, stapler pins.

Size: 40x40x40 cm

Photography: Oded Smadar 100k Photo Gallery >


The name of this piece, 7000, is also the number of units it contains.

These 7000 units represents cultures, nations, and different languages (Hebrew / Arabic / English / Hindi / Japanese / Russian etc.), but while it lays together in one pile it is clear that there is no difference between one unit to another, between one person and another. Regardless of the shape and color of particular letters, we all share the same world and have, in fact, one story.

Warm and inviting colors were chosen for this piece, aspiring for a world of warmth, unity, harmony, and solidarity. It is intended that while viewing at the artwork, the distinction between individual units will fade and turn into a potpourri of colors and shapes, just as it happens in everyday life.

Photography: Yanai Yechiel 7000 Photo Gallery >


The New Shape of Coexistence
Keter Israel
Group Exhibition, 03.2021 - 08.2021
Peres Center for Peace and Innovation, Jaffa

Bristol paper
Site-specific installation
H: 15 cm, W: 21 cm

the new shape of coexistence

7000 I Nilly Mozer

World Design Capital - Taipei 2016 (Taiwan),
'Israeli Design - Creative Roughness', Group Exhibition
07.2016 - 08.2016

"120km" - 150X120 cm felt carpet
"Salt it" - 6 new pieces (new sizes and texture)
"100k" - 2 new pieces (new sizes and texture)

'Gathering+ II', Group Exhibition
The Ilana Goor Museum, Jaffa, Israel
8.2015 -10.2015

Amphorea Ceiling - Personal Interpretation
Mixed media: Cement and salt

This work was created as part of a unique one-year workshop held in the Ilana Goor Museum in Jaffa, and guided by artist Shahar Sarig and curator Sophia Dekel-Caspi. The work was inspired by the museum building, and it is part of the museum collection.

For me, the Ilana Goor Museum projects frankness and honesty from every corner. I feel like everything is out in the open, but still each time something new is revealed.
The resemblance to my works is manifested in the fact that the materials are immediately clear and defined, but the combination between the cement and the salt is always new and surprising.

Moreover, the wide variety of clay pots in the museum spaces and on its ceilings fits together, materially, with the pots that i make. It seems as though the pots were excavated from the ground, as if they were antique pots from the ancient time, but they are actually new and contemporary. The design is familiar, but the material combination - cement and salt - is unique.


My work's guidelines have always been conceptual thinking combined with humour, aesthetics and narrative. In all of my projects, I try to arouse curiosity and create new aesthetics by planting existing formations in different contexts and unusual situations. The surprising combinations presented by my work attempt to unfold new stories I wish to tell. Thus, the stapler pins were taken out of the stapler and into the limelight, while the penguins work their way through the desert-like carpet and create a journey that corresponds to the personal story of each and every one of us.