Nishri’s work moves between sculpture and painting, between body and botany, between the real and the imaginary. Starting from direct contact with material, she examines the relationships between skeleton and garment, between exposure and covering, and between a familiar object and newfound strangeness. The works are born in the space between control and lack of control, aspiring to reveal the potential that lies precisely in the gaps — between branches, between organs, between forms. The purity of the botanical form becomes distorted, disabled, parasitic. As she observes the skeleton of a tree branch, she asks: what potential might exist between the branches? How can one capture the air trapped between them? Like a spider’s web, she connects the points to understand what form lies there — a form she could not see before.

Coming from a background in fashion and continuing to engage with the body in her sculptural work, Neshri is interested in the skeletal parts that are hidden beneath clothing. A bare tree branch becomes for her a parallel image of a human skeleton — male, female, or non-binary — while the garment is perceived as an extension of the body: a covering that shapes its dimensions and at times also distorts them. In this way, the sculptures generate exaggerated proportions and images that stretch the limits of the body and challenge its identity.