Fixed Necessities: New Works by Rebecca Tennenbaum

  • The ~curARTorial LAB @ the Malkovich
 (Crane Arts Old School, Studio 3A)
  • July 2nd - July 27th, 2012
  • Reception: First Friday, July 6th, 5 – 9 pm
    Reception: Second Thursday, July 12th, 5 – 9 pm
  • Open By Appointment Only / Curator: (267)304-7402, Artist: (408)250-3193)
  • Free & Open To The Public

My paintings exist as unified alignments of sensations specific to remembered experiences. I believe that beauty resides in the impermanence of my own sensation and should be acknowledged as it reveals itself. The revealing comes naturally when elemental forces of physical matter align with deliberate action and choice of the individual. I am merely a spectator of the passage of time, facing the fundamental duality of conscious existence; the external environment I am left to physically explore versus the internal monologue, infinite through its malleability.

Layers of latex paint on acetate grounds metaphorically serve as the various elements of remembered events, both mental and physical. These elements of time are trapped through the hand-made marks and color choices, the colors being their own atmospheres, never to be reproduced identically. Each painting contains the activity of a memory to be further embraced through its impermanence.

The fixed color arrangements I encounter during waking moments are internalized and called upon when reflecting on sensations of experience, linking objects and artifacts through association. In this way, the colors individualized on the acetate are able to mimic moments of physical life. Yet it is through the alignment of the colors that the reconstruction of a precise setting and sensation is possible, even if the colors can be linked to other sensations. Therefore, the recreation of a particular moment is also the recreation of previously existing moments, both verifying and counteracting the meaning of any given situation.

The plasticity of my materials functions in two fundamental ways; it confirms the artificiality of a recreated sensation and places my work in the contemporary world. Although my processes run parallel to the predecessors of Abstract Expressionism, my material choices in plastic and mass-production confirm that my paintings could only be created in our modern day. The paintings remain to be internalized and trigger associations within the viewer, transferring the process from myself to others and filtering experience through color, change and time.

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