Invisible moments become visible.California based artist Rebecca Szeto is interested in the poetic intersection of the material and the immaterial -‐ a transformative, and often humorous synthesis of confounded expectations. The process develops as an exploration of the qualities inherent in the materials and evolves into a deeper look at their implications. What results are often unexpected overlappings in drawing, painting, installation and/or interactive participation. With much of Rebecca's work the viewer initally recognizes one thing, but looking closer, realizes something is curiously awry. The works are markedly concise and quietly playful, steeped in wordplay, and often consisting of a single repetitive object or action combined with elements of chance.
This artist's work is similar to mine because it is playful, repetition of small works to create installations, driven by chance, is an overlap of various mediums, is unexpected open ended and absurd
This artist's work is similar to mine because it is playful, repetition of small works to create installations, driven by chance, is an overlap of various mediums, is unexpected open ended and absurd
These fragmentary forms created by Rebecca are largely dictated by chance and automatic sewing of misshapen scrap edges, one to another. The language of these works deal with impossible objects, fascinating in their refusal to conform through shape or words, as per philosopher Jacques Derrida’s “inadequate yet necessary”; they remain stolidly indefinable. There is a (dis)comfort that results from the inability to identify them within any cultural construct, and at the same time, displays a natural ease and freedom from narrative that speaks literal and metaphoric volumes to the immaterial. They offer an understanding of wholeness through alternative channels of recognition.
Rebecca's paintbrush portraits also interested me.She transformed paintbrushes to demonstrate her love for art history and the human form.The slow and repetitive pace of whittling allowed her time to reflect more directly on the idiosyncrasies of each individual brush. The action of whittling served as a metaphor for reducing something to its core value or essence.
Rebecca's paintbrush portraits also interested me.She transformed paintbrushes to demonstrate her love for art history and the human form.The slow and repetitive pace of whittling allowed her time to reflect more directly on the idiosyncrasies of each individual brush. The action of whittling served as a metaphor for reducing something to its core value or essence.
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