For Tsabar's newest Gaffer works, the artist layers stripes of gaffer tape, building up layer upon layer.
By doing so Tsabar creates a painterly platform - one that nests the potential for unraveling forms within its own structure. Following her careful incisions, the artist unearths shapes that become visible only from certain angles depending on the light falling on them. These new architectural monochromes can be seen as a connecting thread from Tsabar's past pieces such as Encore, 2007 to The New Yorker collage series, 2020-ongoing.
The partial dismantling and unveiling in Tsabar's new Gaffer tape works, has art historical links to actions such as Lucio Fontana's puncturing of the canvas, but in Tsabar's incisions the focus shifts away from the violent action. Instead the Gaffer's tape, removed and exposed, reveals itself. A utilitarian material connected to backstage labor. Still on the verge of the unseen, but no longer hidden.