Drora Dominey studied at the University of Wisconsin-Milwaukee (1972–1973), obtained her BFA at the Cheltenham School of Fine Art in England (1975–1979) and spent a year at Saint Martin’s School of Art in London (1979–1980). She started her career in Tel Aviv in the early 1980s, introducing furniture-like sculpture made of wood, in contrast to the hard material type of monuments then so current in Israeli sculpture. From her studies abroad, D. Dominey brought with her a knowledge of the tradition of modern and abstract-constructivist sculpture, which focused on the object, in terms of the materials, the structure, the joints and the quality of execution.
D. Dominey gained immediate success in solo and group exhibitions in Israel. Significant pieces such as Tear (1986) and The Table As It Is (1989), were purchased by the Tel Aviv Museum of Art, which also gave her a solo show in 1993. By then her works, still made mostly of wood, had become more narrative and biographical – the piece Blue Basin (1991) is an example of this. During this period she also explored local cultural aspects, such as using the vowel points (niqqud) of the Hebrew language, and images of housing projects found on Zionist propaganda posters, as can be seen in the wood and aluminium sculpture Three Boards on Easels (1993).

During the 1990s, D. Dominey created temporary installations such as Braid and Tower (1994). Her use of various materials, including cardboard boxes, undershirts, photographs, tarpaulin, wooden columns, drawings and paint, drew on her personal experience of life on the kibbutz where she grew up – a stronghold of collective ideology – and involved images of monuments erected to commemorate heroism during the 1948 Arab-Israeli War. This interest led to a long photographic journey with photographer France Lebée-Nadav (1956–), documenting war memorials throughout Israel which was published in a book titled Everywhere: Landscape and Memory in Israel (2002).

D. Dominey also created outdoor sculptures, among them Aviv [Spring, 1989], made of concrete and located on Rothschild Boulevard, which has become the hub of Tel Aviv life, and the 2.4-metre tall bronze The City that Rose from the Sand (2009), commemorating the place where the Socialist Zionist leader Haim Arlosoroff was assassinated in 1933.

The history and mythology of Tel Aviv’s foundation on the sand are the subject of several of her works, such as Sand upon Sand (2009). In 2016 she returned to the story of Tel Aviv, this time with installations in commemoration of the builders who lost their life during the building boom underway in the city, shown in her exhibition P N Possibly Next (Hezi Cohen Gallery, Tel Aviv).

Since 1981, D. Dominey has taught sculpture at the Bezalel Academy of Art and Design, Jerusalem, and has had a significant influence on generations of artists. She has been the recipient of various awards, including a Life Achievement Award from the Israel Ministry of Culture and Sport (2018) and the Rappaport Prize for an Established Israeli Artist from the Tel Aviv Museum of Art (2020).