Unique in its rhythmic persistence, September 1 2018 – January 15 2021 is among the artist’s few works that do not require physical engagement from their audience. Rather, it offers a distilled notation of Tsabar’s travels on foot, the rhythm of her footsteps resounding in the measured ticking of the metronome. Titled after the period for which the shoes were worn, the paired objects offer a contemplation of time – its regulation by capitalist forces, the world’s slowing down during the global pandemic, those objects we carried through it. With leather scuffed and soles worn, the work is imprinted with the weight of the artist's body.

“I base my work on my own body. Some pieces are played from the outside, others require someone to stand inside the barrier and speak into the microphone, so the musicians I work with may have to lean over or tiptoe to complete the performance because of their different heights. It also goes back to the logic that the human body needs to adapt to architecture or musical instruments, and the same goes for the audience” (Naama Tsabar, 2022).