The body of work of the artist Doron Dahan moves between different media: from drawing in charcoal, pencils and Japanese ink, through oil paints and to sculpting in bronze.

In each of these different areas she moves very comfortably, and in each of them a different side of her artistic personality is shown.
At first glance, it seems that the two-dimensional techniques help Dahan to describe her real, intimate and immediate world.
So is the series of drawings in black and white and in color that describe the homes of the rural environment around her own residence, her social circle and her family. Immediacy of execution seems to be linked to her everyday experiences, but this is only true on the surface. In the depths is another, less accessible space, which exists beneath the glass of reality. Dahan is attracted to it, committed to breaking it, in order to discover what is beyond the known, the familiar and the visible. The ability to turn the immediate and familiar environment into an 'unknown land', and to dig into the secrets of life, is a truth seen in every portrait of Dahan, be it a man, a house or a thorn. Perhaps one of the obvious aspects of this is the fact that most of the two-dimensional works are not entirely drawn, they float in space and are disconnected from the context precisely because it is familiar and known and thus they are expropriated from the place.
Bronze sculpture, which involves a long, difficult and multi-step work process, seems to give Dahan a faster disengagement from the immediate in favor of the human-universal.

In her sculptures, the search for the truth, its pain and imperfection, becomes clearer, and her focus on female characters – every woman – gives Dahan a safe distance and space to deal with internal issues with fresh eyes and a wide shell.

The sculptures have many historical contexts, and the faces of the figures are made in partial abstraction.
The absence of eyes creates an identity between Dahan and the sculpted women: she offers them her wonder of the world, her embarrassed and innocent look, full of humor and exploration.

The preoccupation with the mass of the female body, which in many cases becomes a hilly landscape, gives its characters a super-local, super-cultural and immortal quality. And it is precisely in the sculptures of women that Dahan allows herself to close the round line, which is not only an expression of the shape of the female body but also a discourse on beauty.

Beyond the accessibility of colors and paper versus the complexity of bronze sculpture – which explain some of the differences between Dahan's two bodies of work – where do Dahan's two directions of study meet, if at all? The answer to this seems to lie in her ongoing investigation and striving to discover her private, personal and Israeli truth and assimilate it into the universal one. And so, despite the differences in techniques, materials, topics and approaches – the body of work together constitutes precisely a whole.