Tsabar’s Work on Felt series (2012– ongoing) are a series of flat floor and wall-hung pieces made of felt (underlain by carbon fiber for rigidity) pierced by a piano string that pulls
a curve in the surface. The taut string can be plucked, creating a unique, reverberating sound that emanates throughout the space, thanks to its connection to a guitar amplifier. Tightening or loosening the string changes the degree of the felt surface’s bow and, thus, of the sound it makes. 

At rest, Tsabar’s sculptures always hold performative potential. However,
she often composes musical scores to be performed by collaborators on the felt sculptures, either on their own or in constellation with other sound sculptures or installations. What at first glance might seem like takes on minimalist painting inspired by the likes of Ellsworth Kelly or Robert Morris, these works cross the boundaries of painting (in an expanded sense), sculpture, sound, and performance. By strumming, plucking, stroking, pushing, banging, and otherwise producing sound, visitors and performers alike take part in a choreography of sorts as they engage with the works and the space containing them. 

Chen Tamir, “Turning Sound into Space”; from: Naama Tsabar Opus 1; Mousse Publishing, 2018, Pg. 9