In the exhibition The Everyday, artists Roni Gabizon and Hani Kleinhaus present two bodies of ceramic work that focus on the functional, everyday vessel, using repetition as an action strategy and as a way of observing. Gabizon combines free, humorous drawing on cast and handbuilt vessels, while Kleinhaus deals with precision, rhythm, and formal reduction. Despite their differences, both artists treat the ceramic vessel as an everyday object that bears character, presence, and a connection to the user. A creative process through form, rhythm, and habit, inscribed in the material.
Roni Gabizon’s works are based on two parallel, yet opposing work methods evident in both the structure of the vessels and the drawings that appear on them. One series features cylindrical, clean, and uniform vessels that are slip cast in molds: bowls, cups, and plates with a precise structure, featuring free drawings of human figures. The second series is hand built, where each object bears a unique structure and form, decorated with drawings of animals with a distinct personal presence.
These two series create contrasts: between two-dimension and three-dimension, between precise form and an intuitive line, between the anonymous and the personal. Gabizon describes the act of drawing as a “free, unplanned game,” an action generated in the encounter between the hand, the ceramic pencil, and the rigid, defined surface of the vessel. In Gabizon’s drawings, the line does not fill the form but rather disrupts it, introducing humor, instability, and a momentary response to the precise structure. It seems that the figures do not appear as a sequence of separate images, but rather as recurring versions of the same human behavior, through which the artist offers an ironic gaze at humanity.
Conversely, the animals appearing on the coiled vessels receive a completely different approach. Gabizon’s connection to the animal world stems from prolonged observation of animals over the years, part of her work as a guide at the Safari. In her works, it seems as though it is actually the animals that are observing humans, exposing human conformity and anonymity through humor and ridicule. For Gabizon, humor is not merely a drawing style, but also a critical gaze at society.
Hani Kleinhaus’s work is based on an internal rhythm of action and an ongoing engagement with the clay, the wheel, and the form. While working on the wheel, the shape is already present in her imagination as a complete vessel, repeating it without measurements or markings, but rather out of bodily memory and a sense of hand and eye built over years of work.
Kleinhaus describes wheel throwing as an action resembling a “dance in a circle, completely effortless.” For her, the repetitive action does not require corrections and dwelling on absolute symmetry is unnecessary. Even when a slight fault appears in the form, such as a hole in the body of the vessel, it is perceived as part of the language itself. She refers to working with clay as an action similar to writing: a continuous attempt to refine, reduce, and leave only what is necessary.
Alongside the preoccupation with form and rhythm, the thought of the body that will encounter and use the vessel is always present in her work; the hand that will hold the mug, the person who will eat from the bowl, and the domestic space in which the vessel will exist. Her vessels do not seek to stand out as one-of-a-kind or ceremonial objects, but rather to be gradually absorbed into the habits of the body and the home. “I wish for my vessels to be everyday. Not to stand out, but to grant the pleasure of touch and intimate gaze. Simply to be.”
Kleinhaus’s porcelain works carry a restrained quietness, expressed both in the formal reduction and in the landscape paintings that appear on them. Through broad brushstrokes and expanses of color, ranging from a wet to a dry appearance, she alludes to desert and steppe landscapes, golden sand tones, brown soils, and bright skies. The landscape does not appear as a distinctly descriptive image, but rather as sensations of space and light that exist between restraint, softness, and ambiguity.
The exhibition The Everyday invites the viewer to observe the vessels as a canvas, to face Gabizon’s drawings, and to encounter the vast landscapes offered by Kleinhaus.
Roni Gabizon is a graduate of Industrial Design studies at HIT Holon Institute of Technology (2004–2009). She is RoniCeramicDesign studio in Tel Aviv, and works and studies at the Benyamini Contemporary Ceramics Center in Tel Aviv.
Hani Kleinhaus is a self-taught ceramicist. She holds a B.A. in History from the Open University (2004–2007) and has an independent ceramics studio in Ramat Gan (1994).
The small gallery
Curators: Reut Rabuah, Shelly Shavit
Opening: Thursday, 18.6.2026, 11:00
Gallery talk: Friday, 24.7.2026, 11:30
Closing: Saturday, 1.8.2026, 14:00
