Avner Sher is both an artist and architect who lives and works in Israel. He is interested in the region of the Middle East's history, archaeology, ancient scripts and languages. His works are rooted in the graffiti and the iconography of the Levant and fuses contemporary art aesthetic while addressing the status of men in the universe.

Through his mode of work, Avner Sher enfolds memories of ancient, visual languages. Avner references hieroglyphics, hints of the Babylonians, Assyrians, Hittites, Egyptians and others ancient empire.  Yet, his works maintain a universal theme that combines pre-historic motives and elements with childlike symbolism and style.

Avner’s works also relate to the Cobra avant-garde movement (1948-1951) in Europe, in particular Karel Apple, and the work of

Joan Miro, Paul Klee and Jean Dubuffet.

Avner Sher has always been interested in the relationship between construction and deconstruction. In recent years, he has been working on cork boards mounted on wood, using a wood scorching pen, screwdrivers and hammers, He scratches, tears, engraves and burns the surface and creates works which are painting, etching and intaglio. Within the marks created from the extended processing, he seeks a thread of narrative and form. These residues of action are for him and hopefully for the viewer trail markers to the Primordial myths of humankind, such as the Creation and the Flood. References to biblical figures revered in Judaism, Christianity, Islam appear in many of his works, such as the recent Ten Plagues realized on obelisks.