I think mango you say salmon #II (d-IV
sport mesh fabric, polyester fabric, nylon fabric, silk fabric, gel transfer medium, acrylic, powder coated aluminium, silicone
all 135 x 107 x 17 cm, 2015




ITTAH

 

 

YODA




 

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I think mango you say salmon, Annka Kultys Gallery, Installation view, 2016

Space Garden, future show digital sketch, 2017

 


Excellent Dream + Little One #I, 2016, studio installation view

 

 

 

 

 

 

 

 

 

 



Untitled(blobs) IY-VII, silicone, pigment, 123 x 112 x 9cm, 2015 : Untitled(blobs) IY-VI, silicone, colorant, 123 x 125 x 13 cm, 2015


Walking on the beach imitating sand, Hus Gallery, installation view, 2015


Untitled(blobs) IY-VI, silicone, sand, concrete die, 123 x 125 x 13 cm, 2015


Untitled(blobs) IY-VII, silicone, colorant, 123 x 112 x 9 cm, 2015


HERE'S LOOKING AT YOU, Lychee One Gallery, 2014, installation view
ITTAH YODA
INFO@ITTAHYODA.COM



Solo Exhibitions
2016     I think mango you say salmon, Annka Kultys Gallery, London    
2015     Walking on the beach imitating sand, Hus Gallery, London         
2014     HERE'S LOOKING AT YOU, Lychee One Gallery, London        


Selected Group Exhibitions
2017     TBA, White Rainbow Gallery, London       : Forthcoming (March)
2017     TBA, Sprout Curation, Tokyo     : Forthcoming
2017     Material Surface, Aanant & Zoo Gallery, Berlin      : Forthcoming
2016     Off to Mahoganny, Rye Lane, London    
2016     Suggest The Shape of The Wind, Nam Project, Milan
2016     Aujourd'hui je dis oui, Galeria Boavista, Lisbon     
2015     What is a bird? We simply don’t know, Galeria Nicodim, Bucharest      
2015     Future can wait, B1 Victoria House, London
2014     In The Flesh, OBS Gallery, Kent
2013     The Open West, Newark Park+ Cheltenham Museum, Cheltenham        
2013     RCA Show, Royal College of Art, London


Selected Press
2016   Tique art paper, Six questions: Ittah Yoda, Charlotte Boeyden
2016   El Pais, Who exposure only benefit for women? , Cristina and Erika Belda Astudillo
2016   Art Asia Pacific, I think mango you say salmon, Ambika Rajgopal
2016   After Nyne Magazine, ARTISTS AT PLAY: IN THE STUDIO WITH ITTAH YODA, Laura Frances Green
2016   1 Granary, Ittah Yoda and the Yin and Yang of Artist Collaboration, Aric Miller
2016   Mousse Magazine, I think mango you say salmon
2015    Nowness, A site-specific collaboration at London's Hus Gallery, Joseph Delaney
2015    Artsy Editorial, In Wax Figures and Fluid Forms, Two Artists Craft Flexible Cultural Identities, Stephen Dillon
2015    Huffingtonpost, Walking on the beach imitating sand, Bob Chaundy
2014    We Find Wildness, Here's Looking at you 


Residencies    Grants    Awards
2017     ISCP, International Studio & Curatorial Program, NYC
2017     EKWC, Sundaymorning@ekwc, The Netherlands
2016     LCN, London Creative Network, SPACE, London
2012     1 Year Program of Overseas Study for Upcoming Artists, Agency of Cultural Affairs, Bunka-cho, Japan


Education
2011-13   MFA, Royal College of Art, London

 


I think mango you say salmon #II (detail)
sport mesh fabric, polyester fabric, nylon fabric, silk fabric, gel transfer medium, acrylic, powder coated aluminium, silicone
135 x 107 x 17 cm, 2015

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What is a bird? We simply don't know, Galeria Nicodim, Bucharest, installation view
Untitled(baguette) IY-V, silicone, electric wire, cable tie, 10 x 10.5 x 80 cm, 9.5 x 10 x 122 cm, 2015

 

 

 

 

Easy One, nylon fabric, polyester fabric, silicone, powder coated steel, neodymium magnets, 260x183x17cm, 2016

 

. Saint Honoré, silicone, pvc mesh, carrara marble, polyurethane foam, colorant, inteference pigment, 100x126x36cm, 2016

 

Saint Honoré (detail), silicone, pvc mesh, carrara marble, polyurethane foam, colorant, inteference pigment, 100x126x36cm, 2016

 

Lounger I, polyester fabric, powder coated steel, mesh, die sublimation print, 45x120x100cm, 2016

 

                           

I think mango you say salmon #I , sport mesh fabric, polyester fabric, gel transfer medium, acrylic, powder coated aluminium, silicone, 135 x 107 x 17 cm, 2015

 

HERE’S LOOKING AT YOU

In one of the images I have been sent I can see the bust of a woman. Her face seems to be turned towards a piece of cloth, a towel of stiffened chamois leather, or a soft canvas, that hangs on the wall. It remains almost invisible to me, but her hair, assembled into a small heap, suggests that she is not a loose woman. She knows what she wants without being selfish, without projecting only her own image onto the screen in front of her. She wants to look at something intently. She wants to take it seriously. Or she wants the screen to make her dream, but not frivolously. She wants to look out the window. It is only a white bust, a neck and a head emerging out of a malleable mass of wax, perhaps even carved out of marble, with a strange protuberance on the upper part of the figure’s back that the artist has not removed and that resembles the stump of an oddly placed wing, like the central engine on an MD11. The other object is only a white surface, perhaps the remainder of a faded photograph, or a sculpture of a photograph. What if she were sitting in a plane, as I am right now, flying over the sunny landscape of the South of France in early autumn? She remembers a day she spent in Aix a few years ago and looks forward to a short trip to the surroundings of Arles in two weeks time. I hope she will forgive me for indulging a pun. Now that I have begun to study her, the name Aix suggests to me the French word for peace, paix. May I call her Arlette? On the one hand, she invites me to imagine a scene, though she would recoil almost imperceptibly if I were so tactless as to make a scene and thereby fill the space and the time that stretch between us. This is not the bust of a woman who makes, or before whom one makes, a scene. Yet an installation – and here two artists working together, a sculptor and a photographer, have installed a female bust opposite a sheet that has been loosely attached to a partition in a gallery – is always the imagination of a scene, and that’s why I tend to find installations so tiresome. Installations turn correspondences into a heavy and bulky matter because they make them their main business. They are too embedded in the politics of meaning. On the other hand, she is so quiet, so present and so withdrawn, that she effortlessly undoes anything that would remind me of an installation, of the willful and theatrical arrangement of elements charged with meaning and meant to create even more meaning. On the one hand, on the other hand – a bust has no hands, so she does not know what I am talking about, and why should she care in the first place? I cannot tire her out, no matter what I do or say. The lecher is a stalker, the lover belongs to the people who say good-bye. Why, I have fallen in love with her!
                                                                                       
                                                                                                      Alexander García Düttmann

                                          Contribution for the occasion of the show HERES' LOOKING AT YOU! at Lychee One Gallery

 

Little One I, 2016, silicone, nylon, foam, wood, pigment, 55x36x27cm

Excellent Dream (detail), 2016, nylon, pigment, silicone, powder coated steel frame, neodymium magnet, 135x55x5cm

Aujourd'hui je dis oui , Installation view, 2016

Eating ice cream in the rain2016, nylon fabric, silicone, pigment, powder coated steel,
neodymium magnets, die sublimation print, polyesterr fabric, colorant, 124x183x17cm

Toyota, 2016, Polyurethane foam, colorant, silicone.40x75x20cm,