In “Tares”, two modes of artistic creation collide: the initially constructive phase, characterized by meticulous preparation and care of an image, followed by a destructive act. The artwork emerges from the interplay of both processes, which also subtly reference interpersonal relationships. The deliberately chosen linen costume places Emslander on the same material plane as the canvases she works on during the performance.

Over time, both the work and the artist gradually affect each other; initially, the wet asphalt pigment soaks into the artist‘s hands and clothing. Later, as the blows leave marks on the canvases, wounds appear on the artist’s knuckles. This intensifies the parallel between skin and canvas, between subject and object.

Ultimately, Julia Emslander‘s overtly exposed violence can be associated with feminist artists who have granted a place for „Female Rage“ in art history.