For this body of work, Tsabar collaborates with different bands to create a series of Performance Reliefs. The artist goes on stage when the band's show ends and gaffers the cable arrangements to the surface of the stage. She then pulls the thin gaffer tape skin off the stage by way of imprinting the stage surface and cable composition, as if it were a mold of time. The title of each work is the name of the band and the date they performed. The size of the work and composition of cables are predetermined by the the size of the stage and the band’s setup.
Performance Relief Studies
Mixed media with gaffers tape and chains, 12.9' x 9.9' x 6.8'
Encore presented a full stage, complete with a drum set, a guitar, loudspeakers and amplifiers, wrapped entirely in black gaffer tape—a "backstage" material associated with the labor part of the show behind the scenes—and suspended by metal chains above the floor. The presence of the musical instruments and stage props in the work is clear and manifest, but the ability to use them is blocked. The surplus of black, isolating and sealing material is all-encompassing, generating a hovering object, at once familiar and threatening, tangible and elusive. It is a striking and suffocated, representative and dark object which subverts the ability to contain it within a given frame of meaning; an object which, ultimately, remains impenetrable to the gaze. (from a text by Hadas Maor)
Morning Face, 2008
Mixed media with gaffers tape on preexisting light fixture, 16.4' x 13.1'
In Morning Face, a gaffers tape veil was placed on a preexisting fluorescent lighting fixture in the gallery space. The veil obstructed the fluorescent light, while reflecting it into an inner tunnel like space underneath it.
*As part of the exhibition A New Way of Seeing, Städtische Galerie, Bremen
Twilight (Gaffer Wall), 2006
Gaffer tape on wall, 9.8' x 29.5'