Interested in the aesthetics, ethos, and sensuality of rock & roll culture, Naama Tsabar produces unsettling, darkly humorous sculptures and installations using objects like electric guitars, speakers, gaffe tape, liquor, and bed sheets. Tsabar alters and combines these objects in suggestive, surreal ways, sometimes riffing off of the iconic Minimalist cube. She has linked the tops of two identical guitars, creating a perpetual double reflection in Doublecherryburst (2010), constructed a cube out of stage lights and scaffolding in Untitled, Light Cube (2004), and stuffed bed sheets into liquor bottles in Sweat (1) (2009). As she explains: “I am using the recognizable, the cliché, the kitsch element, the thing that you recognize the minute you see it. Then when you distort it—there is a gap there. That gap is what I am interested in.”
Interested in the aesthetics, ethos, and sensuality of rock & roll culture, Naama Tsabar produces unsettling, darkly humorous sculptures and installations using objects like electric guitars, speakers, gaffe tape, liquor, and bed sheets. Tsabar alters and combines these objects in suggestive, surreal ways, sometimes riffing off of the iconic Minimalist cube. She has linked the tops of two identical guitars, creating a perpetual double reflection in Doublecherryburst (2010), constructed a cube out of stage lights and scaffolding in Untitled, Light Cube (2004), and stuffed bed sheets into liquor bottles in Sweat (1) (2009). As she explains: “I am using the recognizable, the cliché, the kitsch element, the thing that you recognize the minute you see it. Then when you distort it—there is a gap there. That gap is what I am interested in.”
