An artist and poet, Eyal’s text is an extension of his drawings and a thread to his paintings that return as narrative links in his performances and videos. In the contemporary novel Frankenstein in Baghdad, Iraqi writer Ahmed Saadawi stitches together a portrait of a land in horrific turmoil through the creation of a monster made from corpses found among the mayhem in the wake of the US invasion of Iraq. This modern Prometheus resurrects a creature to stir those in power to care about the dead, unwittingly giving the possibility that the disappeared might return. Eyal’s artworks, too, build up a landscape of disappeared memory, torn, stitched, sewn, and wrapped back into each other. In the video installation The Blue Ink Pocket, and (2022), the narrator describes finding disparate paintings of body parts, “We stumbled upon the left ear inside the bag of rice. We retrieved the painting of the head from inside the abandoned storage. The right ear from under the stairs. The shoulders and the hands we found inside the jacket. And we found the feet stuffed inside the cotton.” He recounts the pieces, removing them from their hiding place one at a time.