Review: Thais Mather, Reckless Abandon

As part of Thais Mather’s exhibition of feminist art, Reckless Abandon, there was a female performer dressed in black and standing motionless in a corner of one of the galleries. At a quick glance into the room, I initially mistook her for a sculpture, so still was she, and at the same time she was leaning forward a little, seeming to be pulling on a rope attached to a black sack on the floor. In my mind, I connected her to the mysterious charred bust on a pedestal in the same room, although the stationary woman exuded a dramatic sense of tension—and anguish—that the burnt wooden bust did not. Then the performer began to move away from the corner, struggling to pull behind her the weighted object on the floor.