After working four years in the studio of the painter Urruchúa , she left Argentina to live on an Israeli kibbutz.
She worked with Streichman and Propes, participating to the introductio of abstract art in Israel, and presented her first solo exhibitions in 1962.
Welcomed and recognized by the Israeli press, and subsequently by a French public, she began to acquire her international stature in the 60s.
She made a series of solo exhibitions in Israel and in France, where, in 1968, she won the Paris Prix de Peinture Art Abstrait, and exhibited in South America.
In 1966-1967, she worked with sculptor Marino Marini in his Paris studio and began to use mixed media.
In 1985, she settled in the south of France and created her own teaching workshop while continuing to exhibit.
With a mastery of gesture acquired over more than sixty years of a career while retaining a great spontaneity, Nira NISENHOLTZ CHAMLA explores a variety of techniques, ranging from abstract expressionism to massy projections or collage, and roams the borderland between abstract gesture and figurative representation.
Her signature style, however, remains this physical painting, this matter shaped by the body, testifying to the inner monologue of the artist.