Tsabar’s Inversions series uses the intermediate spaces within and between walls and architecture to reference sound holes and the craftsmanship of instrument building. Acoustic studies have proven that the sonic power of an instrument resonates strongest at the perimeters of its opening, known as a sound hole. This sonic phenomenon led to the design evolution of musical instruments, like the violin and guitar. Embedded into walls, each work opens a space behind the wall that can be activated by both museum-goers and performers.

Depending on the work, activation comes through strumming hidden string elements, singing or the penetration and movement behind the walls to produce a sonic outcome. Tsabar’s most recent Inversions installations are activated by motion, rather than touch. The sonic vocabulary emanating from these structures are derived from field recordings of Brood X Cicadas and female vocalists. Historically, the musical and melodic voice afforded women a rare opportunity for expression in public space. In the gallery, Tsabar invokes this glitch in the patriarchal order by asserting the power and beauty of the female voice within the exhibition.