Pencil Mask 1972 Bleistiftmaske. Fabric, pencils and metal
‘German sculptor and film maker. She studied at the Hochschule für Bildende Künste in Hamburg (1964–70). After a period in London (1971–2), she lived for a long time in New York, with visits to Berlin. In 1968 she produced her first body sculptures, in which she attached objects and instruments to the human body, taking as her theme the contact between a person and his or her environment.’ Tate
One room dedicated to the works of Rebecca Horne at Tate Modern. Beautifully made work, very precise and carefully put together. Mostly sculptural body pieces with a strong concept.
Some film /performance work and a couple of large framed drawings. Very free, using graphite, coloured graphite and acrylic paint. The latter drawings describes the energy flow within the body.
House of Pain 2005 Haus der Schmerzen – Graphite, Coloured graphite and acrylic paint
Suffered from illness at one point in her life and whilst recuperating was given a load of feathers to work with. Produced some interesting face scultures for both men and women.
One was a pair of white wings covering the face … Cockatoo Mask 1973.
‘Horne described using this mask in a performance exploring ideas of sexual availability and intimacy: ‘My face is covered by two intertwined, closed feather wings. The person standing before me touches the feathers delicately, then separates and opens the wings. The spread wings stretch like long bird wings, and softly enclose around (both) our heads. The feather-enclosure isolates our heads from the surrounding environment, and forces us to remain intimately alone, together’ the use of the mask is deliberately ambiguous and the performance implies a tension between tenderness and aggression.’ Tate
Cockatoo Mask 1973 Kakadu-Maske – Feathers, metal and fabric
Many of the sculptures restrict movement or change the way a body moves by extending the length of arms or fingers, for example.
Interesting body sculpture using plates of mirror attached to the body and the resulting fragmentation of the room/space reflected back.
Strong sense of bondage, fetishness and feminisim in the work.