Credit for above images: SITE Photography


Credit for above images: 3 Four Eyes Portraits
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Facebook: Four Eyes Portraits

Installation shot also featuring works by Leisure, Steven Brekelmans, and Brady Cranfield

Credit: SITE Photography




Images of the tapestries after being taken off their makeshift table top looms, before being hung on the gallery wall



Divination Objects
Ink on paper, woven
Dimensions variable, approx. 50 x 32 inches
2019-2020

Presented as part of The Artist’s Studio is Her Bedroom at the Contemporary Art Gallery, 2020, curated by Kimberly Phillips


From curatorial text:

“The Artist’s Studio is Her Bedroom begins from the premise that the patriarchal conditions we inherited from modernism have profoundly shaped assumptions about where and by what means ‘serious’ artwork gets produced. This exhibition shares the perspectives of ten artists whose practices are attentive to these assumptions, and to the very real temporal, spatial and monetary constraints that bind and shape their work. Their contributions to the show address a multitude of labours—whether physical, emotional, reproductive or otherwise—that are often inextricable from artistic production. Some question myths of the studio and the “magical” labour of the artist. Others explore unconventional models of authorship, including the entanglement of childcare and creative work. Each, in different ways, asks how we navigate (or resist) our artistic and political inheritances, and how we might seek out alternate role models and alliances through which to better strengthen our creative communities.

(...)

Working across experimental mark-making, textiles and performance, Damla Tamer negotiates the relationships between aesthetics and politics, particularly the links between representation, intention, anticipation and agency. State violence in her native Turkey, her experience of motherhood and her work as a contract university instructor all influence her practice. Her ongoing series Divination Objects (2019-2020) draws upon a traditional ikat weaving technique, where threads are dyed in areas before being woven into a design. These works literally weave together cut-apart ink drawings, wherein she explores the weight of gravity as a physical force (crucially experienced during a baby’s first year), with shredded compositions containing phrases from her teaching evaluations (now standard practice within the neoliberal university, contributing to risk-averse pedagogy and labour precarity). The warp and weft each hold traces of their materials’ previous information, but now with misalignments, seepage and glitches. For Tamer, they call up artist Hito Steyerl’s sobering claim that we can no longer fight vertical power with horizontality, and ask instead for a more nuanced response to that power.”