Grounded in the domestic sphere, Ofra Lapid’s 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 abstraction. Stripped down to basic geometric shapes, her structures emphasize their skeletal forms, detached from any 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 mounted photographs of rock formations and natural landscapes. This layering created a dynamic tension, suspending her works between abstraction and representation, as well as between sculpture and furniture. 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.

The house is a body, and the body is also a house. This motto informs her practice, as her works 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.