Women’s Stories – with Roni Yeheskel

There are creators with whom connecting instantly feels like speaking a shared language. We first crossed paths with Roni Yeheskel around this year’s Jerusalem Design Week, where she curated the courtyard exhibition “The Heat” at Hansen House, which we were proud to take part in. Beyond her roles as a curator, lecturer at Shenkar, and head of the Textile Lab at Tel Aviv Culture Da Vinci, Roni is first and foremost an artist and weaver exploring the intersections of material, storytelling, and craftsmanship. We caught up with her for a conversation about life between Karkur and Tel Aviv, the connection between the quiet focus of weaving and the precision of curating, and the embroidered tapestry and kubbeh recipes passed down from her grandmothers.

Could you introduce yourself?

My name is Roni Yeheskel. First and foremost, I am a mother to Tomer and Shahar, as well as a textile designer, curator, head of the Textile Lab at Tel Aviv Culture Da Vinci, and a lecturer at Shenkar. And while I work across Tel Aviv, Jerusalem, and Ramat Gan, I actually live in Karkur.

Tell us about your work. What is your background?

These days, you can mostly find me at Tel Aviv Culture Da Vinci, a place I feel truly grateful to have been a part of for nearly three years now. I founded the Textile Lab there—a space designed for dreaming and creating alike—and I currently manage it, overseeing a wide range of projects, residency programs, and an annual international event dedicated to the field.

I got to this role after completing my B.Des in Textile Design at Shenkar and an M.Des in Industrial Design at Bezalel. I continue to lecture at Shenkar today, teaching 3D weaving from flat fabric ('Pockets Course') and mentoring graduation projects.

Additionally, as part of the curatorial team for Jerusalem Design Week since 2023, I curated this year’s courtyard exhibition, “The Heat” (in which Studio iota also participated with a wonderful piece!). Alongside all of this, I continually create my own work, focusing mainly on textile projects centered around weaving.

Seems like plenty, doesn't it? 😉

Where do you draw inspiration from?

I haven't thought about that in a while. As someone deeply engaged with materials and processes, I’d say mainly from objects with a history and from the textile medium itself, which is extraordinarily rich. The latest project I wove—currently on display at the Pavilion for Jewish Art and Folklore (as part of the Design and Craft Biennale at Eretz Israel Museum, MUZA)—consists of 15 handwoven tapestries centered around stories from the history of the pavilion’s collection and the architecture itself. I thoroughly enjoyed researching its artifacts alongside Maya Musak, the pavilion’s curator.

What is your favorite part of the work process, or of your workday?

I love working with people—meeting students during pivotal, formative moments, collaborating with creators who push boundaries, and envisioning and challenging new events. Fortunately, I get to do this almost every day.

How does handcraft tie into all of this?

My craft, weaving, and my love for human interaction balance each other out and are actually quite similar. When I weave, I enter a very focused, Zen-like state, deeply invested in every detail—where each thread falls, how every finish will look. Similarly, when I curate an event, set up an exhibition, or guide a creative process, I strive to stay mindful of the small details while maintaining a broad perspective on the project’s place in the world. It does come with its challenges, as it demands a high degree of control. 

Can you share a recommendation with us? What’s on your favorites list?

I love the work of Boris Acket, an artist who creates massive installations blending textiles, movement, and sound in the cleanest, most poetic way. Truly inspiring.

Also, because I spend so much time on the road, I listen to quite a few podcasts. Lately, I've been hooked on “How to Do Things?” by Shir Reuven, who turns out to be a fantastic interviewer.

 What are you currently working on?

I am working on the annual textile event at Tel Aviv Culture Da Vinci, 'Yafe Le’yafe', taking place on December 3rd, featuring incredible artists and makers I am currently bringing together. Last year’s edition explored textile performances—the physical action of craft practitioners alongside the material’s performance limits, particularly in extreme states.

This year’s event addresses the intermediate space between manual tradition and industrial manufacture: a renewed look at heritage versus the role of industry today and in the future, while reformulating notions of locality and inward focus in a context of limited resources and a sustained drive for evolution.

Tell us about something you learned from your grandmother—ideally something concrete.

I learned to work with my hands from both of my grandmothers, and naturally from my parents as well. I don't recall a single specific technique Grandma Esther taught me, but a tapestry she embroidered hangs in my living room, and its meticulous precision always stays with me—that is exactly how I remember her. From Grandma Yaffa, among other things, I learned how to make kubbeh—which is entirely a craft in itself, one I deeply appreciate and miss.