Home Concept includes an installation made of
thick, rusty iron and encompassing a small glass house. The house seems to be a
rendering of a generic childhood home, innocent, outlined in shaky lines of delicate,
fragile glass. At first sight it appears to be enveloped within the protective
iron, but a more in-depth look reveals a heavy, threatening trap, a tool of
destruction, hanging by a one thread.

The duality of innocent, childlike security on
the one hand and the sense of threat hanging over the house on the other is
present in other aspects of Israeli life also – in the undermining of the sense
of personal security caused by violent events.

Home Concept 4 is a mosaic of mirrors from which
the con guration of a house folds out, enclosing a surprising imaginary
interior. The mirror mosaic ickers, re ecting the entire work setting,
generating refractions which deconstruct reality into fragments.
Mira Maylor
presents three-dimensional works addressing houses that once existed or could
have existed; conceptual homes forever lost, whose contents roll from place to
place with their bearers. For Maylor, the house is a promise ful lled only
partially, if at all. Even when the original house ceases to exist, however, it
continues to be borne as an archetype moving from place to place in one’s mind.
Having been dissociated from its natural setting, the house is no longer made
of walls, but rather of myriad elements, trans gured based on the emotional
relationship they represent. The mental home is a universal structure
containing fears, dreams, and a passion to wander in pursuit of its lost
origin. Today, in an era of globalization and transparent borders, the
conceptual home exists as a reminder of the concrete world of the past, which
in Maylor’s work hides under a glass dome.