The house is a body, and the body is also a house. This motto informs Ofra Lapid’s practice, as her works, scaled to the size of her hands, take on the forms of beds, sofas, built-in seating areas, tables, closets, shelving units, and walls. Each piece is meticulously crafted and enveloped, creating a sense of intimacy—a self-contained world apart.

Grounded in the domestic sphere, her works encompass small-scale models, sculptures, photographs, wall reliefs, and other fragments of interior spaces. Drawing inspiration from memories of lived places and the interiors and furniture designs of prominent modern architects like Adolf Loos and Rudolph Schindler, her creations reflect an interplay of history and form. Stripped down to basic geometric shapes, her structures emphasize their skeletal forms, detached from external context. Constructed primarily from wood or cardboard, these pieces are treated as walls, surfaces, and even skin, blurring the boundaries between structure and materiality.

In earlier works, Lapid used printed imagery to cover her structures, juxtaposing architectural forms with photographs of rock formations and natural landscapes. This layering created a dynamic tension, suspending her works between abstraction and representation, and between image and object. In her most recent series, she moves toward a more painterly approach, meticulously painting the surfaces of her sculptures. This treatment further heightens their ambiguity, transforming them into objects that defy straightforward categorization.