"Erel’s process of form-finding is decisively borne by her desire to have her own cosmos grow out of the highly sensory yet unknown terrain of the female sex.
The result is sculptural objects that give the womb, vulva, breasts, arms and legs a delicate form in pastel tones.
Obstinately, they remain fragments, do not conform to an “object body” imposed from the outside; even a head is missing. On some surfaces a plastic life of its own develops. Formed from polystyrene and covered with papier-mâché, the strange figures seek a footing in the architecture. Quietly and non-violently, floating or hanging, they thus occupy the space and give the title Invasion a further, contrary nuance: it is not the female body that is penetrated in order to occupy it [...] but the reverse.
Erel’s cosmos of the feminine invigorates the world with a cheerful matter-of-factness. The French artist drew on her grandmother’s household to clothe her organic forms. There she found a coffer filled with patterned wrapping paper that is simultaneously intended to conceal and promise." Heidrun Rosenberg 2019