Helen Rebekah Garber 2012

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1 Helen Rebekah Garber 2012

2 New Works 2012

3 Helen Rebekah Garber 2012 Tower I, x 60, oil on canvas. 2

5 Helen Rebekah Garber 2012 Tower II, x 60, oil on canvas. 4

7 Helen Rebekah Garber 2012 Tower III, x 60, oil on canvas. 6

9 Helen Rebekah Garber 2012 Muquarnas, x 60, oil on canvas. 8

11 Helen Rebekah Garber 2012 Bride II, x 60, oil on canvas. 10

13 Helen Rebekah Garber 2012 Reliquary II, x 60, oil on canvas. 12

15 Helen Rebekah Garber 2012 Reliquary III, x 60, oil on canvas. 14

17 Helen Rebekah Garber 2012 Bride III, x 60, oil on canvas. 16

19 Helen Rebekah Garber 2012 Muquarnas II, x 48, oil on canvas. 18

21 Helen Rebekah Garber 2012 Bride I, x 48, oil on canvas. 20

23 Helen Rebekah Garber 2012 Reliquary I, x 48, oil on canvas. 22

25 Helen Rebekah Garber 2012 Bride IV, x 36, oil on canvas. 24

27 Helen Rebekah Garber 2012 Muquarnas III, x 36, oil on canvas. 26

29 Helen Rebekah Garber 2012 Bride V, x 25, oil on canvas. 28

31 Helen Rebekah Garber 2012 Bride VI, x 25, oil on canvas. 30

33 Helen Rebekah Garber 2012 Bride VII, x 25, oil on canvas. 32

35 Helen Rebekah Garber

36 Statement February 28, 2012 Transformation through obsession and the examination of reverence are the central underpinnings of the work; an obsessional examination that mounts through the manipulation of layering and patterning that builds a central focal point within each piece. By drawing upon the analogy of a place of reverence within the boundaries of the canvas, and guided by intuition, the concentration of mark making allows the work to attain presence and aesthetically communicate on a human level. The hand made mark, instantly familiar, proves more powerful than language. The repetition, accentuation and negation of the brushwork in these paintings echoes transmutation - philosophical and scientific. By engaging with color manipulation relating to stages (or steps) within the practice, and the layering of each, one on top of the last, the surface becomes a dense, interwoven tapestry. This layering can be viewed in terms of the stages of transmutation and individuation within the evolution of the psyche, or as a historical process - both applied to the process of creating a painting. The paintings are built from the inside out, mimicking the human form - a painted ecorche within which remains all stages as it s full history and anatomy. Originally vibrantly colored, the final skin of white paint, ties the sometimes disparate elements together and is symbolic of a state of balance or equilibrium. The patterning that composes each image is sourced from vastly different cultural arenas within both Eastern and Western aesthetic traditions: Paleolithic and Neo-Paleolithic fetish objects, West African ceremonial masks, Greek Icon painting, Italian and Northern Renaissance altarpieces, Jewish ceremonial textiles such as Tallit and Torah arks, Islamic prayer rugs, alchemical diagrams and geometric references to mathematical equations. The infinite visual variation humanity has used to give tangibility to the unknown, provides an inexhaustible storehouse of ideas - a flexible conceptual architecture that allows for continuous inclusion of new, obscure and sometimes just plain weird source material. By decoding and repurposing the source material into the skeleton of each structure, a contemporary devotional figure emerges as a central mass, allowing the reference points to both meld and compete with each other. Exploring humanity s yearning attempts of accurately depicting the undepictable, is a seductive draw. 35

37 Helen Rebekah Garber 2012 HELEN REBEKAH GARBER Born 1976, State College, Pennsylvania EDUCATION 2007 California Institute of the Arts, Valencia, CA, BFA 1996 The Arts Students League, New York City, NY The New York Academy of Art, New York City, NY SELECTED SOLO EXHIBITIONS 2009 New Work. DF2 Gallery, Los Angeles, CA 2007 Space. Per Pio Monti, Civitanova Marche, Italy 2007 Graduate Thesis Show, California Institute of the Arts, Valencia, CA 2006 Stevenson Blanche Gallery, California Institute of the Arts, Valencia, CA Grand Gallery, New York City, NY 2001 Bronwyn Keenan Gallery, New York City, NY 2000 Bronwyn Keenan Gallery, New York City, NY TWO PERSON SHOWS 2012 I d Be Safe and Warm, Royale Projects, Palm Springs, CA. 36

38 SELECTED GROUP EXHIBITIONS 2012 Gothic, Orange County Center for Contemporary Art, Santa Ana, CA Incognito, Santa Monica Museum of Art, Los Angeles 2008 Land of Retinal Delights, Laguna Art Museum. Laguna,CA 2006 Why Can t We All Just Get Along?, Sara Tecchia Gallery, New York City, NY 2004 SCOPE U.K., London, U.K Art Forum, Berlin. Berlin, G.E Women, Egnizio s Project, New York City, NY SELECTED PRESS & REVIEWS 2011 New American Paintings #97, Pacific Coast Edition. December/January Art ltd., Painters Painting, Melrod, George. May 2003 Elle Italia, Abrizi, Sophia. October 2002 The New York Times, From Heavy Metal to High Society. Front Page. Leland, John. June 2001 The New York Times. Art in Review. Smith, Roberta. Jun 2000 Time Out: New York, Art in Review, Hunt, David. April Spin Magazine. Runaway Success. Halle, Howard. June Frankfurter Allgemeine Zeitung, Boheme Schrag, April Le Nouvel Observateur. Les Enfants de Warhol. Genies, Bernard. June 1999 The New York Times, Bad to the Bone, Formal to the Brush. Moynihan, Colin. November 37

39 Artwork and Images 2012 Helen Rebekah Garber CHARLIE JAMES GALLERY CHINATOWN, LOS ANGELES 969 Chung King Road Los Angeles, CA T: F:

40 CHARLIE JAMES GALLERY CHINATOWN, LOS ANGELES

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