Tamar Ettun

The first time I met Tamar Ettun was several years ago. I had just moved to New York, and I was desperately looking for an apartment share when a common friend referred me to her. I remember entering her place, and although I cannot remember the conversation we had, I can clearly recall some print-outs of an exhibition installation that were pinned on the wooden doorframe in the kitchen: colorful sculptures, a tent, an individual person. Those images are burned into my brain. Our paths have crossed several times since then, whether through mutual friends, gatherings, or one of my past curatorial projects, and I have always been fascinated with her artistic language, her stylistic choices, and her unique use of materials to investigate two artistic techniques at the same time: sculpture and performance in relation to emotional states of mind.