This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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For more than twenty years, Rebecca Einhorn has been making art (paintings and, since 2000, videos) exploring the human form and the subtle expressive visual codes that reveal or suggest character. Her videos touch on themes of human vulnerability and the sensuousness of the body, as well as the figure’s strange intersection with the spiritual through environment, movement, and sound. Along with a three-dimensional wire-mesh figure seated at a table, and glass windowpanes hanging from the ceiling, Einhorn’s video depicts a man outside in the night cold with bright swaths of steam rippling off his back, illuminated by a low-set light. Played in reverse, the steam in the video appears to be magnetically collecting into the man’s body, rather than extending into the atmosphere, evoking a dreamscape of a black hole where energies are pulled inward against their will. Curated by Heather Pesanti
When
2008
Rebecca Einhorn received her BFA from Carnegie Mellon University. Creating both paintings and videos, Einhorn's work focuses on the human form and the subtle expressive visual codes that reveal character. Her videos explore human vulnerability and the sensuousness of the body, as well as the body's strange intersection with the spiritual through environment, movement and sound.
