In the heart of Dubai’s bustling DIFC financial center stands an arresting installation – a row of towering obelisks, their surfaces etched with Hebrew verses. These 10 obelisks, representing the 10 plagues of Egypt, comprise From Bondage to Freedom, an artwork by Israeli architect and artist Avner Sher.
The installation has been on display since November as part of an international sculpture exhibition. It subtly but powerfully carries its historical and spiritual message in a setting far removed from its origins.
Despite being the only Israeli artwork in the exhibition, this detail remains understated, known only to those who scan a QR code placed beside the installation. Through this digital gateway viewers can uncover the artist’s identity and delve into the profound symbolism behind his work.
At the request of the Israeli consulate, the installation was not publicly named The Ten Plagues, as Sher originally intended, but rather From Bondage to Freedom – a title that shifts the focus from suffering to liberation. “The Ten Plagues also represent the stages of moving from slavery to freedom,” Sher reflects. “In many places where the installation was displayed, visitors related to it through their personal experiences.
“The most striking example was in the US, where representatives of the Black community asked to display the work in their church as a symbol of liberation from slavery.”
The obelisk's deep historical and architectural significance
Sher’s fascination with the obelisk form is rooted in its deep historical and architectural significance. “The obelisk is an architectural structure, of the type built in ancient Egypt and placed at the front entrance to temples,” he explains.
“Various hieroglyphic inscriptions were engraved on them, describing military victories, praises to the sun god Ra, and offerings to other gods. These structures filled the viewers with feelings of grandeur and admiration.”
The obelisk, once a symbol of power and divine reverence in ancient Egypt, has been embraced by civilizations throughout history. Traces of them can be found in temples in Lebanon, Assyria, the Turkish Empire, and even the Roman Empire. By the 18th century, the obelisk had transformed into an architectural expression of heroism and commemoration.
For Sher, this long lineage of meaning made it the perfect vessel for a story of endurance, suffering, and ultimately, redemption. “In ancient Egypt, obelisks were covered in inscriptions praising rulers, celebrating victories, and venerating the god Ra, who was known for his animosity toward Jews,” Sher says. “Every time I exhibit these obelisks, I feel immense pride. Despite everything, we are still here and will remain forever.”
Sher began creating the 10 obelisks in 2014, completing them in 2019. “Each obelisk represents one of the 10 plagues of Egypt. Engraved on them are tiny illustrations and symbols depicting the plague, alongside Torah excerpts.
“My starting point was my belief that the Hebrew slaves were highly skilled craftsmen who built structures and obelisks for the Egyptians. In a way, my work is a form of ‘correction’ – creating 10 obelisks that symbolize the triumph of the Jewish spirit and our exodus from Egypt.”
THE EXHIBITION’S opening event was filled with striking artistic encounters, including one between Sher and a Muslim artist who had created an installation of colored ribbons. In a spontaneous moment, Sher asked her to tie yellow ribbons to her work. She agreed, even without understanding the context – an act that, like much of Sher’s installation, carried layers of unspoken meaning. In the celebratory setting, few grasped the depth of this gesture, yet it stood as a quiet bridge between cultures, a subtle weaving of histories and narratives.
Dubai itself provides a poignant backdrop for From Bondage to Freedom. The United Arab Emirates, now a thriving economic powerhouse, has its history of struggle.
“Archaeological findings here demonstrate a long history of settlement and trade,” Sher notes. “But due to its unique location, the area suffered from internal wars, occupation by foreign powers, and great suffering as a result of the collapse of the pearl trade. Eventually, a federation of seven emirates was established, turning the region into a major financial center and a global tourist attraction.”
Sher’s obelisks, standing silent yet imposing, draw an invisible thread between ancient history and contemporary reality. They remind the viewer that hardship is not the end of the story but rather a passage toward renewal.
“Since 1999, my creative process has been rooted in the theme of destruction and chaos as a precursor to renewal and the formation of a new world,” Sher explains. “I abuse cork and wood panels – scratching, burning, staining, pouring red wine (cheap, messy kiddush wine), iodine (for treating wounds), and other substances – until they become dirty, scratched, and seemingly meaningless. Later, I observe these damaged panels and ask: Where are they leading me? What do they suggest?
“This meditative process is similar to the Rorschach inkblot test in psychology. I firmly believe that destruction and chaos ultimately lead to a new, better, and more surprising world.”
At its core, From Bondage to Freedom is a testament to resilience. It is a quiet but powerful statement about overcoming adversity, finding strength in history’s darkest chapters, and the possibility of transformation – etched in stone, yet alive in the spirit of those who pause to listen. “The theme of liberation from slavery to freedom is universal, resonating with all cultures,” Sher reflects. “It turns out that all monotheistic religions recognize the story of the Exodus.”
