In this show, a Tel-Aviv couple, both artists, present a work that deals with their lives as creators, as marriage partners, and as parents. Each of them brings the fruit of his her art and mounts a complex of forms in real time and space that interacts with tl1e complex brought by the other artist to create a total complex which also includes a video representation of occt1rrences in the past that are connected with the presentation of the show.
They conceived the idea of the show together. An immediate contrast appears between the intellectual and feminine dimensions of Bar-on’s art and the sensual and phallic chdracter of the pots created by Davis. Bar-on creates and directs a performance in which she appears in the central role, with actors and the couple’s children.
Her performance-tools and scenes of body movements and vocal passages, which operate on several levels. The scenes of movement represent ways of expressing emotions, which either develop into an interpretative sequence, or are cut short to create a static visual image define areas in the show space; manipt1late objects in various contexts; and constitute direct gestures in the show’s present. In the vocal sphere, Bar-on uses the language of speech to tel1 a personal story. creates several gibberish-languages; and builds phonetic sequences which range between the musical and the theatrical, and between lyric expression and representation of familiar modes of expression.
The actors produce an image of a group presence identifiable with a culture, and function as assistants in the progress of events.
Davis created the pots, which range in height from 30 to 150 cm., and installs them in the show space. The pots create a volume of immobile and silent images opposite Bar-on’s volume of motion and sound. But the silence of the standing pots reveals other oppositions, the movement that can be seen in it when looked at closely for a while, an the sounds produced from it by means of percussion. A pot is a multi-functional thing. Since ancient times, humans have used pots for everyday, real-time needs, and for ritual, symbolic purposes. A pot is constructed of a form that opens and a form that covers. The attempt to open up is an aspiration for a better

future, elihז\\sitting under the lid is a closing of an unrevealed past. In the pot there is tension between the color of the clay and the color that the potter adds, which connects to tl1e tension between dark and light, closed and open, negative and positive. To this, Davis adds another tension, betvveen his desire to leave the pot naked and his decision to cover parts of it by glazing. He also makes a minimal use of iron, as expressive of a desire not to close himself in one material option only.
The pots contain all these oppositions and so are symbolic of life.
The video was conceived and Filmed by Bar-On inside and outside the  studio situated by the sea. In the video Davis are creates his art and plays with his two children.
In a family collaboration and with the interweaving of attitudes above the performance is formed.