Wednesday, July 16, 2014

Satisfying, Necessary and Dangerous

Damaged Goods
Typewriter drawing on paper, graphite & double sided tape
45 x 48 inches (114 x 122 cm)
$1300

Eighty-Nine (detail)
Permanent marker & isopropyl alcohol on paper
22 ½ x 30 inches (56 x 76 cm)
SOLD


Exoskeleton
Typewriter drawing on paper
One-hundred-fifty-eight 5-inch (13 cm) squares & six-hundred-thirty-two magnets/tacks 
7 feet (2.13 m) tall by 6 feet (1.82 m) wide
$3000

 Séance
Permanent marker on paper
22 x 22 inches (56 x 56 cm)
$300














Artist Statement:

 This method of drawing embodies all that is satisfying, necessary and dangerous about compartmentalization.

Modernity forces us to be vigilantly aware of a constant influx of information, lest we be thwarted, caught off guard, or left behind—a seemingly impossible task.  By first synthesizing and then chipping away at this information, we comfort ourselves with smallness, familiarity. We dissociate from the inconceivable.

Using a grid and a drawing tool, I address one segment at a time.  The looming threat of the greater image—one that might take ninety hours or thousands of strikes on the typewriter to complete—becomes a singular drawing, a smaller, conceivable task that is both separate from and part of the future whole.

The parallel to life is so clear—this essential process can also be dangerous. Synthesis and compartmentalization are of course necessary for survival, but cross a fine line and these abilities can transform into self-deception and denial, or harbor an obsession with control and perfection.

But how satisfying it is to draw this way! Walking that fine line fulfills this bizarre, fretful urge to attain perfection. Alongside (and perhaps contradictory to) this urge, I’ve come to enjoy the imperfections and happy accidents that my background in printmaking and drawing has led me to. I revel in working within a medium in which marks can’t be erased and blemishes are a part of the process. For me, it’s a funny, competitive exercise in self-flagellating gratification, and a reminder that I’m not a computer, yet.

Rachel Mulder


The works above were created between November 2013 and July 2014 and were created for Analog Obscured, an exhibition of works by myself and photographer Lindsey Rickert at AFRU Gallery in Portland, Oregon.  The opening reception took place July 3, 2014.  The show comes down on July 31, 2014. Gallery hours: Friday & Saturday 12-4pm; Sunday 2-6pm

These drawings were made using my Sears Citation II typewriter, graphite, sharpie & isopropyl alcohol.

Analog Obscured

I'm bursting with so many thank-you's to all who attended the opening reception for Analog Obscured. Your presence made it a total blast. Not only was I surrounded by those whom I consider to be my Portland family, but I was super-thrilled that Magnolia Bouvier & DDDJJJ666 were able to provide enchanting post-punk-creepster-weirdo-wonder and appropriately-analog musical entertainment. Special thanks for kicking it off with Klaus Nomi!  You will do yourself a great disservice if you do not attempt to listen to the links below.

Analog Obscured is an exhibition of works by myself and photographer Lindsey Rickert (http://www.lindseyrickert.com/).  The opening took place at AFRU Gallery in Portland, Oregon, on Thursday, July 3, 2014. The show will close July 31.

Gallery hours are as follows: Friday & Saturday 12-4pm and Sunday 2-6pm

Listen:
http://xray.fm/shows/vampirella-in-iridescent-teal (Magnolia Bouvier)
http://xray.fm/shows/hipsters-suck (DDDJJJ666)
http://www.mixcloud.com/MagnoliaBouvier/
http://www.mixcloud.com/thomas-jones2/








Saturday, May 3, 2014

Not Nuns

Work in progress using the following keys of my Citation II typewriter: , & @ w V % x 0 #
Typewriter ink on paper
Future dimensions 4ft x 4ft
April 2014




To be on display at AFRU Gallery in Portland, Oregon, in July along with other similar pieces and the works of photographer Lindsey Rickert. The opening reception will be held on Thursday, July 3, 2014. More information to come.

Sunday, December 22, 2013

Hunting For Rules

This in-progress piece is made using my Citation II typewriter from Sears.



My process is a painterly, human version of ASCII and an oblique form of printmaking. Using a group of symbols of my choosing, I've finally found that magical medium I've been searching for that gives me a nearly mathematical and very meditative solution to creating imagery. When complete, this piece will be 9 feet tall and 6 feet wide.

I have been hunting for rules for a long time.  During my undergrad as a printmaker, I found myself timing my plates in the acid bath down to the second.  This was simply because I was capable and this gave me ultimate control, not because it was necessary.  I did this during a time of great personal tragedy.  The ability to compartmentalize in modern society is essential to survival. We must leave our baggage at the door and continue our day to day.

The dissimilarity between my process and ASCII (besides not being a computer) is that I allow myself to type multiple layers to create darker values. I start by using my fingernail to emboss the essential structures and lines in each individual square.

 I will be accepting commissions based on photographs.  Prices will be negotiated based on size.  Please email me at redluMlehcaR@gmail.com for details.

Thursday, November 10, 2011

New Work



The pieces below were made for the show In-Between with Emily Stout [http://emilystout.com] at the Borg Ward Collective in Milwaukee, WI.

The opening was Friday, November 4th from 6-9pm. Email Ricky at [artlab2012@gmail.com] for a private tour through November 25th.

Borg Ward Collective
823 W. National Avenue
Milwaukee, WI 53204



Bust

Oil Pastel on Paper
20 x 24 inches

$250

Humble

Oil Pastel on Paper
7.5 x 11 inches

SOLD

Moviestar

Litho Crayon
15 x 22 inches

Collection of Jessica Poor

Doppelganger

Oil Pastel & Charcoal on paper
11 x 15 inches

$125

Scylla

Charcoal, Graphite & Oil Pastel on Paper
15 x 22 inches

SOLD

Disappointment

Oil Pastel on Paper
15 x 22 inches

SOLD

Lacrymatories

Graphite & Charcoal on Paper
22 x 15 inches

$125

Heavy-Handed

Oil Pastel on Tan Paper
13.25 x 15 inches

$125

Spaceman

Oil Pastel on Paper
16 x 22 inches

SOLD

Ghost & Veil

Oil Pastel on Paper
9 x 14.5 inches

$150

A Misunderstanding

Oil Pastel on Paper
10.5 x 14.5 inches

$125

Lacrymatory



Oil Pastel on Paper
12 x 23.75 inches

$150

Wednesday, June 15, 2011

You Get To Be Nobody

Felt, ribbed polyester, 1 tennis ball, envirotex, thread; variable dimensions (approx. 25ft x 11ft x 3ft); 2010


This could be a story about surrendering—surrendering to circumstance and discarding the futile desire to be in control. It is a portrait of embarrassment, sewn up and inaccessible in order to forget and go forward.

However, it is at the same time homage to and obsession with control—a sadistically hand-sewn costume that can never be worn by a nonexistent giant.

Without ignoring the obvious incarnation of the King of the Jungle or the Cowardly Lion, it’s a defeated and deflated icon of strength, bravery, and the majestic—a menacing creature made foolish, flaccid and without threat.

A costume or a mask is simply a way to be something without consequence. It’s a safe place to misbehave and be out of character (in character?) without having to put your foot in your mouth, feel mortified or apologize. This ancient and magical invention of humanity has taught us how to behave in real-life by allowing us to hide in and become something or someone else. It’s a place where you are allowed to be nobody.

These photos were taken by John Rieppenhoff, of Green Gallery West, Milwaukee, Wisconsin, where it was shown in September 2010. You Get To Be Nobody was first shown in Ask The Lonely, a group show in July 2010 at Worksound Gallery, Portland, Oregon.