Mari Eastman, Rosa Tharrats
Bombon shows a project with the artists Mari Eastman and Rosa Tharrats, based on the potential of intuition to generate connections with the wild and personal narratives.
Both artists, although from different generations, share a similar interest and a similar way of working through intuition. Concepts such as the wild, the history of fashion, the transmutation of materials, as well as the creation of personal narratives or self-representation through nature are intertwined in the selected works. This is visible, for example, in Eastman’s figures of wild animals, which can be understood as a kind of self-portraits, a sublimation of the self into the wild, where it becomes indomitable and free; or as in the case of Tharrats’ use of fabrics and materials, mixing elements and states, in a constant transmutation where each element and fabric contains its own story.
Mari Eastman’s (b. 1970, lives and works in Chicago) work emerges from a pictorial study of images derived from fashion magazines, wild animals, decorative objects and depictions of popular figures – which become intertwined with personal narratives. Her paintings, often in a small and intimate format, contain loose brushstrokes and often seem to be executed in an intentionally rough manner, which looks to defocus the image and strip back the initial delicate allure.
Rosa Tharrats (b. 1983 and based in Barcelona) mainly works with textiles. Her exploration is based on the premise that objects, whether natural or artificial, own an unexplored subjectiveness and can establish an organic relationship with us. Often she finds herself creating through the interaction between the mineral, the vegetable and the industrial realms, generating spaces where the research of the subtle balance between materials and the contrast between that which is vaporous and that which is wild is made possible.
With Tharrats Bombon presents a newly produced hanging textile installation made from her extensive textile archive and materials such as biofabrics or elements from the area. Tharrats’ way of working is always linked to the territory in which she lives or exhibits, this being a great opportunity to develop a new production in relation to the natural space that Marseille offers.
Bombon’s booth is a space where the works of Tharrats must be crossed, like a forest that must be entered, like a veil that must be unveiled in order to access the pictorial works of Eastman. The proposal is an invitation to leave one’s own subjectivity, the individual self, to open our eyes to other shared realities, to other types of subjectivities, whether material, animal, or symbolic that permeate our experience through intuition.