Delicate paper screens float through the air in an installation that is made entirely of silk papers. Cnaani treats the papers with techniques taken from the world of textile:  printing, burning, embroidering, and gluing. She challenges the thin paper with operations of perforation and subtraction, by burning the paper with a chemical substance that corrodes the cellulose in the paper. She examines the limits of its disintegration, up to the moment before its collapse, and patches together the thin pieces of paper into one sheet that holds itself together. 

The repetitive  geometrical patterns are borrowed from the Muslim world of ornamentation. They are also characteristic of the mashrabiya, a wooden shed with a perforated pattern, wich lets light into the house, and makes it possible to look outside, from within. The paper screens are also used as light softeners and play with the lighting, so that the lace-like models are projected as shadows on the walls.