“Than he took one of his ribs and closed up it’s place with flesh. And the rib that the Lord God had taken from the man he made into a woman and brought her to the man” (Genesis 2.21-22)
The creation of Adam and Eve, as one entity encompassing two bodies, or two unseparated bodies, inspired the artist to study the symmetry or asymmetry in the relationship between Adam and Eve – Man and Women, and the timeless dilemmas humans face to this day, as separate – yet interconnected, creatures.
The artist finds educational value in the banishment of Adam and Eve and the birth of human suffering and regret.

2015 – Participation in the sculpture open air exhibition in Mamilla Boulevard plaza in Jerusalem. Sculptures included in the exhibit: David with Harp”, “Mother playing with child”, “Yuval, father of Harp”
The motifs of motherhood and music have fascinated the artist throughout his creative career. Over the years original attributes were formed which were a special inspiration in their outline to other artists, in Israel and worldwide. The lines form figures which tell a different story from every angel, their deeper essence is non replicable.
In the sculptures “Yuval, father of harp”, and “David playing the harp”, the elegant biblical figure returns to strum on the ancient harp strings, and in the sculpture “Mother playing with her son” exhibited at various locations worldwide, the love between the mother and her child can be felt as he looks to her riding above her stomach.

Participation in the sculpture open air exhibition in the Mamilla Boulevard plaza in Jerusalem. Sculptures in the exhibit:
“Ruth and Naomi”, “David playing the Harp” “Girl with Fawn”.
The sculpture “Ruth and Naomi”, consisting of two symmetrical figures merging into one another as if they were one figure, is an illustration of the artist’s interest in complex human relationships,from ancient times until the present. The love relationships, loyalty and friendship between Ruth and Naomi, between Adam and Eve, mothers and their children, fathers and their sons, are threads going through the artist’s creations, and no doubt transfix the viewers, as if, for a moment, they saw there reflection in the sculptures.

In 1974 Victor and Margalit built their home in the Ein Hod artist’s village. They were both accepted as members of the village and Victor managed the village’s art school. Between 1980 and 2012 they divided their time between the Safed artist colony and the Ein Hod artist village. In 2012 Victor and Margalit chose Ein Hod as their permanent dwelling place, and renovated their three story house, with a work floor, a living floor, and a gallery floor. Currently a large collection of works are displayed for sale at the gallery in the Halvani house. In 2013 the sculpture “David playing the harp” was installed in the Yemini sculpture garden, at the main entrance to the village, and plans for the Victor and Margalit museum are taking on form.

“a son of Jesse the Bethlehemite who is skillful in playing, a man of valour, a warrior, prudent in speech, and a man of good presence; and the Lord is with him” (Samuel 1 16)
In 1997 the work “David playing the harp” was bought and placed at the entrance to the Bud Seretean Art center at the University of Oklahoma. Bud Seretean was a devoted collector of Victor’s art and a family friend. He was known for his love of art and donations to cultural institutions in the U.S. and Israel.
The work depicts David as a young man, a shepherd kneeling on his knees and playing a harp-like instrument. His fingers strum the instrument and his head is tilted down in humility. In the later version “David and the harp” his head and thoughts are tilted upward, as If already assured of his future as king, standing proud and tall.

There is nothing more complete than the creative process itself, beginning with the flash of insight emerging in a surprise as a divine magic touch, and continuing to take shape until it becomes a sculpture. Sometimes built as a metal skeleton covered by nets, as a base for a plaster model – a critical step which can take weeks or months. In those long days, the artist spends his time in solitude at his studio, agonizing over the correct measurements sizes and proportions, examining the statue from every angle, until it takes on life, as if it had a soul of it’s own. It isn’t a secret Victor Halvani is attached to all his models, as if they were his children. Many a time the separation from a model on it’s way to the bronze casting at the foundry involves a concern and sense of longing. At the foundry a highly skilled team carries out the phases of casting, and at this stage the artist still closely follows the process, until the work returns to him, in raw form, still requiring polishing, welding, and painting. Countless hours of work can pass until the perfect creation is born and the sculpture completed. Yuval Halvani, son of the artist, and an artist in his own right, performs these steps.