Maya Cohen Levy’s sculptures are a natural progression of the paintings of palm trees, thatched roofs, sunflowers, and honeycombs which are constructed in a carefully symmetrical arrangement. Her sculpture until now has been Expressionistic and occasionally demonic, and her art has great power; profound meanings bursts forth from her works that frequently deal with ritualistic and bestial images. The combination of the crow, the cat, and the moon have followed her from her early works, the crow becoming the reverberating symbol of reality, where the viewer is not swept up into the drama but must contend with the image. The crows seems to dance in a ritualistic dance circle – much terror lies within. A back crow, the moon, a pyramid – this is the essence of Maya Cohen Levi’s script.

Her works range from the artistic to the metaphysical, from the passion-driven to the didactic and symbolic, from the legal and regimented to the transient. The pillar which is the basis of her sculptural oeuvre is a continuation of the palm tree series. The trunk is not merely a configured, vertical, infinite column; Cohen Levy’s trunks stand like sophisticated supporting columns in the firm, developing structure of individual thinking which investigates, illustrates, and describes the roots of the law and order in nature.