Posts Tagged: Thea Yabut
Two Fold: twice as great or as numerous
Two fold is a wall-mounted accordion book that consists of 84 cut-paper panels. A collaboration between Black and Thea Yabut, Two fold begins with their ongoing “mirror drawing” studio game, and their practice of using scissors and knives as a drawing tool. Working
Two Fold: twice as great or as numerous
Two fold is a wall-mounted accordion book that consists of 84 cut-paper panels. A collaboration between Black and Thea Yabut, Two fold begins with their ongoing “mirror drawing” studio game, and their practice of using scissors and knives as a drawing tool. Working
Mirror Drawing
Singularity is always already plural; individuals are at once unique in their differences and relational to others. Anthea Black and Thea Yabut create drawings, book works, prints, photographs, and composite films simultaneously together and individually, each mimicking the other’s movements
Mirror Drawing
Singularity is always already plural; individuals are at once unique in their differences and relational to others. Anthea Black and Thea Yabut create drawings, book works, prints, photographs, and composite films simultaneously together and individually, each mimicking the other’s movements
LIVE FROM PATTERN HUT
LIVE FROM PATTERN HUT An accordion bookwork that contains reproductions of six film stills from Black and Yabut’s work Maman and Me. On the reverse, a critical text by Jen Kennedy entitled “Fugitive Patterns,” is paired with images from the performative
LIVE FROM PATTERN HUT
LIVE FROM PATTERN HUT An accordion bookwork that contains reproductions of six film stills from Black and Yabut’s work Maman and Me. On the reverse, a critical text by Jen Kennedy entitled “Fugitive Patterns,” is paired with images from the performative
Maman and me
Maman and me combines imagery of hair, brushing, braiding, spiders, knives, scissors, and cut paper derived from my interest in the work of Louise Bourgeois and my collaboration with Thea Yabut. The work utilizes both “blind cutting” and cameraless animation:
Maman and me
Maman and me combines imagery of hair, brushing, braiding, spiders, knives, scissors, and cut paper derived from my interest in the work of Louise Bourgeois and my collaboration with Thea Yabut. The work utilizes both “blind cutting” and cameraless animation:
Anthea Black 