Rachins currently teaches “Color Theory for Artist’s, Designers, and the Color Curious” at the School of The Museum of Fine Arts, Boston, where she has been a faculty member for fifteen years. She received a Master of Fine Arts from Massachusetts College of Art and Design, a Bachelor of Fine Arts from University of the Arts in Philadelphia, PA, and also studied at The New York Studio School.
Her work is held in private and public collections, including The Museum of Fine Arts Boston and The Danforth Art Museum
The origin for these paintings began with a walk on a beach in Miami. My eyes were attracted to small bits of bright colors in the vast beige field of beach sand. This visual experience reminded me of looking at a roll of unprimed canvas stretched out on the floor, with small colored jewels dispersed throughout.
As I approached, the colored bits were revealed to be small individual pieces of residual plastic that had washed up from the ocean onto the sand. No less interesting to me, I collected as many pieces as I could find, and placed them in a plastic bag. When I returned to Boston, I brought the plastic bag to my studio, released the plastic bits on a tabletop tray, and then began to play with them, inspiring me to create the “POPROCKS” painting series.
Fascinated by the complexity and subjective nature of human perception, I use color to initially attract viewers to the painting. In each painting, the interactions between elements of color, shape and pictorial space are often intentionally rendered with ambiguity, in an effort to undermine “first glance” assumptions. Between the eye looking and the mind thinking, assumptions about what is real and what is illusion are made.
The shapes were initially torn and cut from unused cotton rag paper, glued onto rectangular three-dimensional panels, and then painted with oil paints. At times, the “POPROCK” paintings appear to be flat two-dimensional collages, projecting slightly out from the wall, hovering with uncertainty into the viewer’s actual three-dimensional space.