This “Freedom” work belongs to the series of
“Archeology of the Third Millennium” viewing our present time from the distant
point of an archeologist, looking at the beauty of a lost world.
The image of
the cage - prevalent in many of Maylor’s past works —a delineated area which
emerges here as a type of a home and a territory with clear-cut boundaries. The
cage represents lack of freedom, whether real or imaginary, touching upon
beauty and loss. The use of glass, and specifi- cally glass fibers, an utmost
fragility combined with beauty, as the elements of a cage, suggests the
imaginary moral dilemma of protecting the fragile beauty or smashing the cage,
in the name of freedom.

By the same token, the seductive beauty of the
huge mass of black roses corresponds with loss and mourning.

In an era of globalization without borders, the
conceptual home exists as a reminder of the concrete world of the past, Home is
no longer the house made of walls, but rather of a myriad of emotions. This
mental home is a universal structure containing fears and dreams, often
creating a virtual personal cage, on the very intimate level as well as social
and cultural