In the Orthodox community where Chana Goldberg was brought up art was out of bounds.

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Her immense attraction to art made Chana one of the first religious artists in Israel.

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In her work, Goldberg expresses her personal frustrations as a religious mother and wife: the head covering and increased birthrate are some of the issues that appear in many of her creations. What singles out this bold work is her critical position from within the orthodox community to which she feels obligated and in which she live.

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The personal and unique perspective is expressed also in her landscape paintings: both when she describes with an examining eye her closest and busiest surroundings in the Katamonin neighborhood in Jerusalem, and when she tries to describe the emptiness of the desert to which she traveled for a few weeks of solitude and reflection.

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As a daughter of holocaust survivors, the holocaust appears again and again in her work. It seems that the more she tries to escape it, the more it returns in pursuit of her. Once more with this theme Chana has adopted a unique and stern eye which made her exhibitions echo long after they had ended.

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Her artistic work with deep and serious themes did not come at the expense of her professional and extraordinary painting skills.

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Today, in addition to her work in her studio, Goldberg teaches young religious students, bequeathing them her passion and deep obligation to professional, personal and uncompromising art.