From The Digger catalouge:

Eitan Ben Moshe

Noa's works grow from personal feelings. The language is private, and the powers underneath it build structures of surreal memory. The story, with its sober-minded surrealism [a woman digging the water of an urban garden pool, ("The Digger") a sand castle with teeth like rooks (the ceramics biennale, with Yonit Kamil)], lacks a glamorous fantasy and sticks to everyday life, like someone sentenced to dream with no imagination to create escape exits.                                                                                                              

In this exhibition, the sack in the lifeguard tower emphasizes the incarceration sense with grease kisses with which it stamps the walls around- passion is punching the wooden walls.  

The expendable\fragile materials Noa uses emphasize a sense of uselessness, the lightness of dealing with less binding materials is missing. The mirror flowers were made with great effort and will not last, and through the mirrors we see the empty space of the exhibition, the eyes shut under the flowers & the viewers eyes.

The sand castle facing a village of white roofs bore an autistic fascination with groundless pointless making, but the rawness of the structure and the burdensome size left no sense of relief.

The autobiographical fact that Noa studied in "Bezalel", in the department of ceramics design, can hint to her typical "Bezalel" exhibitions specialized work steps concerning material use, but in Noa's works the specialization does not reach a sense of esthetical ostentation and cleanliness. It stays raw, dressed with a story that does not satisfy the viewer, but only emphasizes the actual creation and establishment of the objects.                                                                                                                     

The imperfectness and impermanence of the objects and the film photographing combined with the diligence of the craftsman, create a sense of creative and obstinate factory worker that keeps manufacturing objects in the same methods, to her eyes only, though the factory she worked in was shut down years ago. Weariness and understanding the uselessness of it keep the objects unfastened.                                    

The worker presence was also dominant in Noa's graduation exhibition from "Bezalel" Pipes resembling sewer pipes, made from cracked ceramic material, and piles resembling the asphalt piles on roads sides lay on the floor. Taping sounds were heard in the room.  The tapings vibrated the piles with an electric pulse. The feeling was of something stroking in the piles.                                                                                      

We are left with an echo of a call echoing inwards, like a childhood game that’s lost the beauty of discovery and imagination. A remain of the game appears within the Sisyphus making of an adult caught in a situation that lacks a fantasy to relief or unburden him. Sisyphian recycling of the lost materials remains is all that is left.