A fascinating example of a process of creation which seems to have had therapeutic value comes from the studio of Gal Weinstein (born 1970). Weinstein took the images of Saddam Hussein’s sons Udai and Qusai and, through the materials, he chose to work towards, perhaps unconsciously, artistic creation as therapy. When the viewer looks at these images, one immediately feels that something is wrong. When I asked Weinstein how he got hold of the images, he answered that they were the images of Saddam Hussein’s two dead sons, released by the American media as part of its war propaganda. Weinstein uses felt, hardly a commonly used material in fine arts, but rather one more usually associated with retirement homes and children’s nurseries. His art becomes a form of therapy because of the time and effort needed in order to make it. The effect of the felt becomes even more chilling given the long hours Weinstein had to spend with the images of the dismembered, crushed, distorted figures of the two dead sons of Hussein. Yet the artist does not turn away from horror -/ he faces it head on.