Renowned sculptor Aristide Maillol proclaimed that he expresses himself in sculpture because he is not a poet. Similarly, sculptress Zehava Grossman expresses herself by hammering, bending, kneading and welding. Grossman is scarce with words. However, where sculpting is concerned, she is highly prolific. Grossman followed her need to use her hands and discovered sculpting. She underwent her training at the Avni Institute, as well as with artists Yaakov Epstein, Yaacov Dorchin, Mark Meller and Eliezer (Gogo) Rosen.


Grossman's sculptures demonstrate her passion for direct contact between artist and material. She does not shy away from using diverse materials, but rather experiments with a large variety of them – iron, bronze, stone, cast, and wax, as well as unusual combinations of such materials. According to Grossman, she inclines toward materials in their raw essence. Nonetheless, she integrates ready-made objects in her works as well, such as tools, wheels, and scissors – any object that would stimulate Grossman's imagination and envision the change she would instigate.


Many sorts of metals hold a special place in Grossman's oeuvre. Handling an industrial, purposeful and massive material set a challenge from which Grossman produces a large variety of works that glorify the material and respect its rawness, naturalness and color. At the same time, the works interact with their surrounding space and expose volumetric, airy and light features. Basic metallic qualities like weight and mass are often replaced by movement and flexibility. A group of works made of iron chains that were welded to one another emphasizes how it is possible to take a limiting, restrictive object and transform it, against the laws of gravity, into something open, elastic and free. Duality between fullness and emptiness, density and airiness, often echoes in Grossman's works – a duality that translates to the one between harmony and tension.


The movement motif reappears in many of Grossman's works, whether during the maneuvering of the materials while creating them or in the motion sensation in the completed image. Many works are oriented upward or outward, resembling a frozen moment of a walking figure, or the raising or floating of a hand. Even in works in which the sculptural intervention is reduced to contour lines, there is something happening. Grossman leaves the viewers a significant role – to take her basic creation and complete it in their imagination. These work, which she calls "frame works" consist of clues, such as iron threads combined into an unfinished form, which the viewer then completes. This is also a result of a spontaneous and intuitive process – a process in which both the creator and the material dictate the course of work.


Even though Grossman's works are not pre-planned and her creations materialize as they are made, significant historical inspirations are apparent in many of her works. Whether it is in classic poses or direct gestures, such as Chagallian motifs, chunky casts reminiscent of Giacometti or Dadaistic ready-made combinations, Grossman pays tribute to sculptural tradition alongside ingenuity and self-expression.