Naama Tsabar b. 1982
195.6 x 151.4 x 59.7 cm
Further images
-
(View a larger image of thumbnail 1
)
-
(View a larger image of thumbnail 2
)
-
(View a larger image of thumbnail 3
)
-
(View a larger image of thumbnail 4
)
-
(View a larger image of thumbnail 5
)
-
(View a larger image of thumbnail 6
)
-
(View a larger image of thumbnail 7
)
-
(View a larger image of thumbnail 8
)
-
(View a larger image of thumbnail 9
)
-
(View a larger image of thumbnail 10
)
-
(View a larger image of thumbnail 11
)
-
(View a larger image of thumbnail 12
)
Fusing elements from sculpture, music, and performance, Naama Tsabar’s interactive works appropriate the aggressive gestures of rock-and-roll as well as the anti-expressionistic motifs of twentieth-century Minimalism to reconceive gendered narratives and shift the passive viewing experience to one of active participation.
Her Melody of Certain Damage series subverts the hypermasculine, destructive action of smashing a guitar by reconfiguring the broken pieces back into a functional instrument. Similarly bringing the sculptural into the realm of the aural and tactile, her Works on Felt—wall sculptures made of felt, carbon fiber, epoxy, a guitar tuner and a single piano string—exist as austere objects, nodding to the sculptures of Robert Morris. Rather than positioning the viewer in an isolated state of perception, however, Tsabar invites the emotional and sensual experience of the body physically handling the felt into sonic expression.
Exclusively collaborating with female identifying and gender non-conforming individuals for her performances, Tsabar repurposes male-coded and male-dominated traditions beyond their historically exclusive and limiting scope.
. 
