painting series, Cabessa laid out books she had read and especially liked onto an oil-covered plywood surface, leaving the imprint of their open pages on the surface and at times even inverted letters from the text. She presented close to fifty paintings bearing the imprints of books by authors such as Nabokov and Kafka, selected from Cabessa's collection of most influential books. The produced images deliberately resemble a series of vaginas: like spread-out legs, the imprints of the open books symbolically serve to feminize the books’ mostly male writers. The surprising aspect of this process consisted in the wide variety of images produced from similar-looking books. At the beginning of 2017, Cabessa decided to start running a studio in Tel Aviv in parallel to her studio in New York, and it is with a strong sense of nostalgia that she returned to the country and landscapes of her birth. She was invited to work at the Harel printing workshop which had just inaugurated a printing press for formats of 2 meters by 1.40 meters, and on which Cabessa was commissioned to produce a new series of works. She chose to use the printing press as one of her painting tools: the Kinneret print series was produced using the press to spread out color. The press served to produce the paint stain, using a mixture of oil paints and metallic pigments to create images reminiscent of the light reflections and surface changes on the Sea of Galilee. The return to the Sea of Galilee is for Cabessa a return to her childhood years when she used to live in Tiberias and observe for long hours the water's changing surface and reflection. As a windsurfer in her youth, Cabessa had established a deep connection with the lake. About 20 works from this series of monotypes were selected for an exhibition at Harel Gallery. In 2018, she presented her first collaborative project “Night Painting” at the Uri and Rami Nehoshtan Museum, a contemporary art museum located in Kibbutz Ashdot Yaakov in the Jordan Valley, curated by its director Smadar Keren. The work was created in collaboration with theater director Noam Ben Azar and his group of actors. Over the course of a year, they met for a series of improvisation exercises based on the “Grid technique”. This technique acts as a framework for producing incidental interactions and compositions, and allows the actors to