ARTISTS
Tamar Ettun: Eat a Pink Owl
Fridman Gallery presents Eat a Pink Owl, Tamar Ettun鈥檚 second solo exhibition with the gallery.
This is the third installment in Ettun鈥檚 tetralogy, Mauve Bird with Yellow Teeth Red Feathers Green Feet and a Rose Belly, incorporating sculptural installations, performance, video, and works on paper. Ettun's ongoing body of work focuses on primal emotions, each symbolized by a primary color: the 2015 Blue was for Empathy, last year鈥檚 Yellow 鈥� Desire. In this exhibition, Pink is synonymous with Aggression which is another way to relate (identification can occur literally, through eating the objects of our fancy).
The dualities in Ettun鈥檚 practice 鈥� performance/sculpture, healing/trauma, temporariness/ permanence, functionality/abstractness 鈥� apply to relationships among humans, and humans鈥� relationships to objects. Ettun applies dance vocabulary and compositional techniques to object making, and she challenges the stillness of sculpture by making it perform: grab, stretch, hang, balance, reach out. The works in Eat a Pink Owl are dichotomies wound up with potential energy. An upside-down woman at full stretch 鈥� her feet suspended from the ceiling, hair dangling to the floor, an inverted Caryatid echoing the gallery鈥檚 columns 鈥� carries the height of the space and a procreational bird's nest inside her. A seated warrior woman, tightly wrapped in self-defense and propriety, flashes a peacock鈥檚 tail. A giant pink horse, soft and flexible, his rider a fisherwoman: neither is in charge, both are ready to charge.
Ettun鈥檚 flamboyant assemblages call for a physical response in the viewer: their sharp-edged limbs and horns point to internalized pain and destructive tendencies; yet their soft bodies and relaxed poses suggest rebirth and pleasure. Pink used to be a boys鈥� color, becoming a symbol of submissiveness ascribed to women only after World War II. Eat a Pink Owl is about gender fluidity, femmes repossessing pink as a symbol of assertiveness, through bodily forms and primal emotions.
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Fridman Gallery presents Eat a Pink Owl, Tamar Ettun鈥檚 second solo exhibition with the gallery.
This is the third installment in Ettun鈥檚 tetralogy, Mauve Bird with Yellow Teeth Red Feathers Green Feet and a Rose Belly, incorporating sculptural installations, performance, video, and works on paper. Ettun's ongoing body of work focuses on primal emotions, each symbolized by a primary color: the 2015 Blue was for Empathy, last year鈥檚 Yellow 鈥� Desire. In this exhibition, Pink is synonymous with Aggression which is another way to relate (identification can occur literally, through eating the objects of our fancy).
The dualities in Ettun鈥檚 practice 鈥� performance/sculpture, healing/trauma, temporariness/ permanence, functionality/abstractness 鈥� apply to relationships among humans, and humans鈥� relationships to objects. Ettun applies dance vocabulary and compositional techniques to object making, and she challenges the stillness of sculpture by making it perform: grab, stretch, hang, balance, reach out. The works in Eat a Pink Owl are dichotomies wound up with potential energy. An upside-down woman at full stretch 鈥� her feet suspended from the ceiling, hair dangling to the floor, an inverted Caryatid echoing the gallery鈥檚 columns 鈥� carries the height of the space and a procreational bird's nest inside her. A seated warrior woman, tightly wrapped in self-defense and propriety, flashes a peacock鈥檚 tail. A giant pink horse, soft and flexible, his rider a fisherwoman: neither is in charge, both are ready to charge.
Ettun鈥檚 flamboyant assemblages call for a physical response in the viewer: their sharp-edged limbs and horns point to internalized pain and destructive tendencies; yet their soft bodies and relaxed poses suggest rebirth and pleasure. Pink used to be a boys鈥� color, becoming a symbol of submissiveness ascribed to women only after World War II. Eat a Pink Owl is about gender fluidity, femmes repossessing pink as a symbol of assertiveness, through bodily forms and primal emotions.
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