solo show at Haifa Museum Of Art
, 2010
An installation, consists of: drywalls structures, wooden staircase, glass and perspeks boards, metal and wooden banister, bicycle locks, light spots, fences, drawings.
Photos by Elad Sarig.

PANORAMA - text by Rotem Ruff
The sculptures and drawings in this exhibition reconstruct architectural elements detached from their familiar context and use. In Navok's sculptures, these elements create an environment that gives rise to an experience of estrangement and disorientation.
Navok's works examine the affinity between art and architecture, questioning the distinction between architectural and sculptural objects and blurring the difference between form and functional value. So, for instance, she creates plaster niches - a simultaneously decorative and functional element prevalent in mass architecture - and transforms them into seemingly "pure" sculptural objects.
Additional sculptural elements that appear in Navok's works are railings and fences. These elements define limits, circumscribe public spaces and direct the body through them, yet their existence in the architectural sphere is often almost transparent. In this case, Navok positions the railings and fences in the foreground of our field of vision, positioning them within a formal frame that shapes the entire composition and transforms it into a kind of organic landscape. These originally functional objects thus come to redefine our way of seeing.
Navok's automatic drawings are unplanned, and contain recurrent elements. As one gazes through the dense layers, which resemble natural forms, one discovers a new harmonious pattern. These drawings seem to attempt to obstinately reconstruct the moments between states of collapse and construction, and point to the artist's interest in discovering and exposing what lies beyond the layers of each drawing. Her works are thus reminiscent of drawings of archeological sites, yet also of abstract, utopian architectural structures. The preoccupation with archeology and with architectural drawings also recurs not in the process of their creation, since many of them contain vestiges of earlier works that were copied or cut and pasted into the new works. In this manner, the two-dimensional object is transformed into a kind of relief.
In her latest works, Navok photographs her old drawings with a black-and-white copy machine, using large sheets of colored paper. Each work is composed of a number of images copied one upon the other, so that they form a uniform and multilayered sketch. Navok adopted this technique in an attempt to free herself of the colorful palette characteristic of her drawings. In her experience, the mesmerizing power of color, which usually dictates the forms and painterly action in her works, results in a loss of the overall linear character of the drawing. The copy machine, like a polygraph, extricates the "structure" from within the field of color, and enables the artist to study earlier ideas and the ways in which they change. Like the works themselves, the work process may thus be likened to an archeological excavation or to the creation of architectural sketches.