presented at Victori + Mo in April of 2017
Reflecting a progressive shift in the artist’s overall practice, this installation features abstractions sourced from the body and demonstrates a gradual separation from her intimate relationship with paper and small-scale drawings. Subsequent to her diagnosis of glaucoma and the multiple surgeries to save her vision that followed, Ebstein had an artificial lens placed in her eyes resulting in long-term vision aberrations that landed her somewhere between near and far sightedness. This was the catalyst for her work becoming increasingly tactile.
Ebstein’s wall-bound pieces, presented as painting, are made with hand-cut yoga mats and powder-coated aluminum forms bolted to the image’s picture plane. Gaps between the pieces of mat reveal the painting beneath the collaged surface and emphasize the imperfect presence of the hand.
The exhibition’s main sculptural assemblage, ceramic pieces presented on tile topped tables made by the artist, hold Yoni Eggs. These nest-like display structures investigate the aesthetics of marketing accessory and adornment — superfluous objects associated with the body.
An additional side effect of glaucoma, Ebstein found she could no longer practice yoga. The move to mats as material in her pieces started as a physical act of separation. Acting as a synthetic proxy for the body, the pieces participate in a consideration of the body in design, a simultaneous absence/presence of functionality and the standard assumed proportions it serves. Ultimately Fad Bodies creates an analog to spaces hyper-tuned to the body, like the gym, sauna or dance studio, yet one devoid of utility. They suggest bodies on display even as they are not present.