Over the past two years I have created the video art woman-plantation held in a peach orchard near my place of residence, a clear-cut group. For this plantation, I have found myself going countless times, examining its scents, flavors, light reflections and colors. In my wandering, I would imagine the French Impressionist counter, returning time and time again to the same space ("haystacks," "Saint-Lazar train station," "lily of the water") and drawing it at a different time into the background of changing light reflections and weather changes. I was intrigued by the idea of ​​examining the constant in the dynamic-dynamic light over static. I chose to document the plantation about its changing moments and seasons, to which I invited women to experience and participate in world-related rituals. In the spring and summer, I met with the Bhutto dancer, Shlomit Yaron, who danced alongside the ripe fruit and the peach flowers spontaneously, which responds to environmental stimuli. In the winter, I invited my mother, who celebrated the beginning of her eighth decade, to the old, farewell ceremony. In the fall, I invited my friends who grew up with me from infancy to say goodbye to our fertility, our homes through the red color and the falling leaf. The meetings at the plantation indicate the connection between a woman and herself, a woman and her other and her season and between her and her mother, through movement, rhythm, touch, textures and color. The land symbolizes the woman's periodicity on her fertility, Camilla, Lobova - her stages and her imagery. The act of art embodied in nature holds in its absence the absence of abundance, the pity of the villain, the yearning to create and the horror of the loss of the work.