The sculpture-relief Jamma’in II is spread across a wall, which stands perpendicular to the architectural environment’s ceiling and floor. The wall functions as an arena in which the artist examines how space is created in an intermediate zone between two horizontal planes, how it is endowed with meaning, how it becomes domestic, and how it disentangles itself from this domestic quality. This work is concerned with the creation of structural coherence, and with the gathering, accumulation, and assembling of geometric forms, furniture-like objects, and actual furniture. At the same time, its components break apart and scatter outwards from its core to its outer limits as if following a Big Bang, so that the work appears to be gradually losing its coherence.
Tevet’s work entertains a dialogue with the "pure" modernist language of Geometric Abstraction, Constructivism, Structuralism, and Minimalism. These movements all had a utopian character and were concerned with the formal structuring of reality; in Tevet’s work, by contrast, this formal structure surrenders to the material impulse to converge or expand into formlessness. The inclusion of a record and an incomplete circle in the work points to a preoccupation with the image’s coherence, which stems from a centrifugal or centripetal movement in relation to a concealed or nonexistent core.
In his early works, Tevet used “poor” materials typical of Israeli art in the 1970s, and preserved the wood's natural color. His works from the 1990s, however, are more processed and involve the use of paint upon the surfaces of objects. This work as a whole examines the ability of a two-dimensional (painted) image to absorb a spatial (sculptural) reality, and the ability of a three-dimensional assemblage to function according to the logic of painting. Growing out of this duality, the work maintains a double “pulse,” so that the spatial construction breaks out of the two-dimensional support, while the surface (painting) breaks out of the three-dimensional support.