Tiempo de lectura: 1 minutos
CULT | Aimee Friberg Exhibitions, San Francisco, California, USA
8 de septiembre de 2018 – 27 de octubre de 2018
CULT | Aimee Friberg Exhibitions presents its third solo exhibition of new work by Rebekah Goldstein. See You on the Flipside marks a continued evolution of the artist’s signature lines, shapes, and gravity-challenging spatial treatment. In this exhibition Goldstein hones in on the tension between her two and three dimensional work, linking them conceptually with brand new shaped canvas pieces as well as presenting, for the first time ever, a dynamic sculptural form rendered in powder-coated steel.
Working intuitively and improvisationally, Rebekah Goldstein has spent years developing abstract shapes, line and space that push and pull at the boundaries of the two dimensional plane, continually pushing to answer the question of how a picture plane can simultaneously hold together and fall apart.
Over the course of her painting practice, Goldstein began to create three dimensional paintings or “objects” that related to the paintings while providing a corporeal counterpoint to the limitless possibilities of abstraction on the canvas. While the shapes in her paintings can defy the physical laws of gravity by offering multiple and competing perspectives, the sculptures are inherently bound to gravity, illuminating the limitations and possibilities of both painting and sculpture. In See You on the Flipside, Goldstein introduces shaped paintings, where the canvas edges slant, curve and sway, hinting at sculpture but ultimately retaining their flatness. These “in-between” works create a closed feedback loop where the transformation and translation between two and three dimensions create harmony through the tension of push and pull.
The new shapes in this body of work have more space to breathe and wider expanses for the eye to rest, and similarly the color palette is pared down or reduced. Using less color and cooler tones, See You on the Flipside is notable for an approach to minimalism that seeks to discover how few shapes and how less color can be used to, paradoxically, employ the most impact.