Born in Oxford, England in 1984 and raised in Haifa, Israel, Naomi Safran-Hon lives and works in New York. She graduated summa cum laude with a BA in Studio Art and Art History from Brandeis University and earned her MFA from the Yale University School of Art in 2010. Her practice occupies a charged space between photography, painting, and sculpture. She photographs the ruined architecture of Wadi Salib—a historically Palestinian neighborhood in her hometown of Haifa whose abandoned structures she has documented over decades—prints the images at monumental scale onto canvas, then cuts into the photograph, embeds lace, and presses cement through its surface, producing works that are simultaneously image and object, document and ruin, wound and architecture. The materiality is not decorative: cement carries the weight of construction and demolition alike; lace is the language of domestic intimacy imposed on the language of war. The resulting works carry their own scars, proposing art as a form of witnessing that neither illustrates nor aestheticizes, but holds contradiction in suspension. Her practice engages the Israeli-Palestinian conflict, displacement, and the intergenerational weight of contested memory—always from a position of humanist insistence on empathy, dialogue, and the belief that art can change people. Safran-Hon is a 2023 Joan Mitchell Fellow. Her awards include the BRIC Colene Brown Art Prize (2020), the Francis Greenburger Fellowship (2016), and a finalist nomination for the Jerome Hill Artist Fellowship (2020). She received the Slifka Foundation Grant and multiple awards from Brandeis University, where her work on Israeli-Palestinian coexistence was recognized as early as her undergraduate years. Residencies include the Skowhegan School of Painting and Sculpture (2012), Art Omi (2016), and the Lower Manhattan Cultural Council Workspace Residency (2019–2020). Solo exhibitions include Twice Broken Heart at SLAG&RX, New York (2025); Time to Return at RX&SLAG, Paris (2024); Soft Power at the Bonisson Art Center, France (2022); Tight Connections at SLAG Gallery, New York (2022); State of Place at Galerie RX, Paris (2021); All My Lovers at Slag Gallery, New York (2020)—which garnered a profile in The New York Times; and Fragments of Place at Marfa Contemporary, Texas (2017). Her work has been exhibited at the Brooklyn Museum; the Haifa Museum of Art; the Islip Art Museum; the Queens Museum; the Jewish Museum of Maryland; Museum Africa, Johannesburg; Marianne Boesky Gallery; and P.P.O.W Gallery, among others. Her work has been reviewed and profiled in The New York Times, The New Yorker, Hyperallergic, BOMB Magazine, ARTnews, The Elephant Magazine, and Architectural Digest.