CURATORIAL
COLLAPSE
Carin Rodenborn
Oracle
Acrylic on linen
with stretcher bars and tacks
14.25 x 15.5 x 2.5 in.
COLLAPSE
Carin Rodenborn
Oracle
Acrylic on linen
with stretcher bars and tacks
14.25 x 15.5 x 2.5 in.
2013
Artist Statement:
“I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language.”
- Italo Calvino from Six Memos for the Next Millennium
Like Calvino, I am looking for ways to suggest lightness, with an emphasis on the tricky nature of relationships and convergences. I am interested in both formal and metaphorical relationships, and how form and metaphor play on each other through color, shape and a consideration of edges. Lightness is found both in this playful banter and in a material lightness of touch.
My approach is an exploration of spaciousness and patience through a curious experimentation with materials. I work with both traditional and non-traditional materials in a painting and drawing practice that often looks a lot like sculpture.
The transformation of materials from a static disregard into a sense of surprising awareness is what drives me to experiment with the way these materials relate to each other and to the viewer. Whether it is an expansive or an intimate gesture, there is a slowness and a vulnerability in the work, both in the way that it is made and possibilities for the way it is viewed, that holds out for contemplation.
“I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language.”
- Italo Calvino from Six Memos for the Next Millennium
Like Calvino, I am looking for ways to suggest lightness, with an emphasis on the tricky nature of relationships and convergences. I am interested in both formal and metaphorical relationships, and how form and metaphor play on each other through color, shape and a consideration of edges. Lightness is found both in this playful banter and in a material lightness of touch.
My approach is an exploration of spaciousness and patience through a curious experimentation with materials. I work with both traditional and non-traditional materials in a painting and drawing practice that often looks a lot like sculpture.
The transformation of materials from a static disregard into a sense of surprising awareness is what drives me to experiment with the way these materials relate to each other and to the viewer. Whether it is an expansive or an intimate gesture, there is a slowness and a vulnerability in the work, both in the way that it is made and possibilities for the way it is viewed, that holds out for contemplation.
