Phantom Galleries LA
Closing reception celebration: Thursday October 25, 5-10pm
REBECCA NIEDERLANDER
SLICES
Exhibition Dates: September 14 – October 31, 2007
Closing Reception:
Thursday, October 25th, 2007 5– 10pm
Additional window exhibits by Heather Brown, David McDonald and Alexis Weidig,
Alexis Weidig courtesy of Overtones Gallery.
Gallery Hours during the last week:
Tuesday October 23rd, 2007 11am-2pm, 5pm-7pm
Wednesday October 24th, 2007 11am-3pm, 4pm-8pm
Friday October 26th, 2007
Saturday October 27th, 29-31st 2007 11-6pm and by appointment
Phantom Galleries LA is pleased to present Slices, a solo exhibition of work by Rebecca Niederlander curated by Liza Simone. The exhibition will run from September 14-October 31, 2007. A reception will be held on Thursday, October 25, 6-10 p.m. at 269 N. Beverly Drive, Beverly Hills, CA. This event will be free and open to the public.
“Mobiles are sensitive symbols of Nature, of that profligate Nature which squanders pollen while unloosing a flight of a thousand butterflies; of that inscrutable Nature which refuses to reveal to us whether it is a blind succession of causes and effects, or the timid, hesitant, groping development of an idea." --Jean-Paul Sartre, writing about Alexander Calder’s Mobiles, 1946
Rebecca Niederlander’s sculptures have always reflected an interest in the processes of perception and interpretation, and in the discovery of particulars that often go unnoticed in the rush of events. Though early forms often sat solidly grounded, her later work regularly hovers, floats, or hangs suspended above a surface. The most recent Family Tree series originated in an installation featuring a room-sized vellum mobile that she describes as an attempt to reflect on individual's place in the continuum. All elements in A Family Tree are connected, each bit's activity modulated by the activity of the whole. The 6,000+ small, fluttering forms were created using a Japanese paper cutting technique called Kirigami, which westerners know as "making paper snowflakes." After creating that piece, Niederlander began to experiment with wire because of more complex and abstracted forms that medium makes possible. Also fascinating is the relationship between the lines of the wire forms and their alter-ego shadows.
Many suspended sculptures, and mobiles in particular, lack manageability. They start from a place of equilibrium, but from that point on it’s their nature to shift, to become, to reinvent. Their mutability also makes them a kind of dream space into which viewers can enter or onto which they can project their own discoveries and interpretations. The protean qualities mean that their creator can plan only so far in terms of how they will evolve. She must let go and allow them to find their own form. In this way, a mobile can be seen as a placeholder for the experience of living, perhaps in particular for the process of parenting (an identity Niederlander is still acclimating herself to). By the way, many of the pieces were designed to be effective pull-toys!
Rebecca Niederlander received her MFA from UCLA, and her BFA from California College of the Arts (formerly CCAC). She is represented by Carl Berg Gallery 6018 Wilshire Blvd, Los Angeles, CA 90036: 323 931 6060 www.carlberggallery.com/ carl@carlberggallery.com
Rebecca Niederlander would like to thank The Durfee Foundation for the financial assistance they have provided through an Artists’ Resource for Completion Grant for this exhibition.
Closing reception celebration: Thursday October 25, 5-10pm
REBECCA NIEDERLANDER
SLICES
Exhibition Dates: September 14 – October 31, 2007
Closing Reception:
Thursday, October 25th, 2007 5– 10pm
Additional window exhibits by Heather Brown, David McDonald and Alexis Weidig,
Alexis Weidig courtesy of Overtones Gallery.
Gallery Hours during the last week:
Tuesday October 23rd, 2007 11am-2pm, 5pm-7pm
Wednesday October 24th, 2007 11am-3pm, 4pm-8pm
Friday October 26th, 2007
Saturday October 27th, 29-31st 2007 11-6pm and by appointment
Phantom Galleries LA is pleased to present Slices, a solo exhibition of work by Rebecca Niederlander curated by Liza Simone. The exhibition will run from September 14-October 31, 2007. A reception will be held on Thursday, October 25, 6-10 p.m. at 269 N. Beverly Drive, Beverly Hills, CA. This event will be free and open to the public.
“Mobiles are sensitive symbols of Nature, of that profligate Nature which squanders pollen while unloosing a flight of a thousand butterflies; of that inscrutable Nature which refuses to reveal to us whether it is a blind succession of causes and effects, or the timid, hesitant, groping development of an idea." --Jean-Paul Sartre, writing about Alexander Calder’s Mobiles, 1946
Rebecca Niederlander’s sculptures have always reflected an interest in the processes of perception and interpretation, and in the discovery of particulars that often go unnoticed in the rush of events. Though early forms often sat solidly grounded, her later work regularly hovers, floats, or hangs suspended above a surface. The most recent Family Tree series originated in an installation featuring a room-sized vellum mobile that she describes as an attempt to reflect on individual's place in the continuum. All elements in A Family Tree are connected, each bit's activity modulated by the activity of the whole. The 6,000+ small, fluttering forms were created using a Japanese paper cutting technique called Kirigami, which westerners know as "making paper snowflakes." After creating that piece, Niederlander began to experiment with wire because of more complex and abstracted forms that medium makes possible. Also fascinating is the relationship between the lines of the wire forms and their alter-ego shadows.
Many suspended sculptures, and mobiles in particular, lack manageability. They start from a place of equilibrium, but from that point on it’s their nature to shift, to become, to reinvent. Their mutability also makes them a kind of dream space into which viewers can enter or onto which they can project their own discoveries and interpretations. The protean qualities mean that their creator can plan only so far in terms of how they will evolve. She must let go and allow them to find their own form. In this way, a mobile can be seen as a placeholder for the experience of living, perhaps in particular for the process of parenting (an identity Niederlander is still acclimating herself to). By the way, many of the pieces were designed to be effective pull-toys!
Rebecca Niederlander received her MFA from UCLA, and her BFA from California College of the Arts (formerly CCAC). She is represented by Carl Berg Gallery 6018 Wilshire Blvd, Los Angeles, CA 90036: 323 931 6060 www.carlberggallery.com/ carl@carlberggallery.com
Rebecca Niederlander would like to thank The Durfee Foundation for the financial assistance they have provided through an Artists’ Resource for Completion Grant for this exhibition.