An ongoing series that grew out of two years of travel and research into architecture's light, air and openness movement and a rooted interest in home as asylum and healer. The paintings are a result of splicing and combining photographs I took during site visits to Richard Neutra's VDL Research House (Los …

Medium
Certificate of authenticity
Included
Frame
Not included
Series
Homatorium

Using images of mid-century interiors and the geometric abstraction of Josef Albers and Barnett Newman as both source material and inspiration, Rebecca Chamberlain creates compositions that marry impeccably rendered ghostly interiors with abstract patterning. Working primarily in iridescent lithography ink on a type of tracing cloth used by architects, she draws on vintage photographs and printed documents, visibly focused on formal geometries but always considering greater psychological concerns: “I’m interested in stairways and hallways as interstitial spaces,” she has said. “I’m also thinking about the points of anticipation in an interior or an image; the performative places, like a staircase, where one ascends and descends; as well as the places where one could hide and watch from behind the scenes.”

Exhibitions
2014
THANK YOUDODGEgallery
2012
Size MattersDODGEgallery

Wright, Looking Up, 2018

Lithography ink on vintage tracing cloth
12 × 12 in
30.5 × 30.5 cm
$750
Location
London, Buffalo, Triqueville, Hudson
Certificate
This work includes a certificate of authenticity.
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An ongoing series that grew out of two years of travel and research into architecture's light, …

Medium
Certificate of authenticity
Included
Frame
Not included
Series
Homatorium

Using images of mid-century interiors and the geometric abstraction of Josef Albers and Barnett Newman as both source material and inspiration, Rebecca Chamberlain creates compositions that marry impeccably rendered ghostly interiors with abstract patterning. Working primarily in iridescent lithography ink on a type of tracing cloth used by architects, she draws on vintage photographs and printed documents, visibly focused on formal geometries but always considering greater psychological concerns: “I’m interested in stairways and hallways as interstitial spaces,” she has said. “I’m also thinking about the points of anticipation in an interior or an image; the performative places, like a staircase, where one ascends and descends; as well as the places where one could hide and watch from behind the scenes.”

Exhibitions (2)
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