Rachel A. Carey
Fiction: that vast and open field where anything and anyone, from that which we know as reality, can be uprooted and sub-planted; then mimicked, détourné or transfigured. Situated within narrative settings with no plot and no timeline is where I like to investigate the conduits of power and the Imperative voice.
I am a visual artist working across multiple mediums: drawing, sculpture, text and moving image (both 16mm film and video). I create works that often draw upon or use the historical - its stories and symbols - as a starting point to highlight parallels and idiosyncrasies within our contemporary society – in ever-constant flux – and pairing these with seemingly contrasting archetypes to create delicate, temporal and half-familiar hybrids.
For the last few years, my work has focused on labor and its correlation to craft and time, within the context of art-making and value production.
I am a visual artist working across multiple mediums: drawing, sculpture, text and moving image (both 16mm film and video). I create works that often draw upon or use the historical - its stories and symbols - as a starting point to highlight parallels and idiosyncrasies within our contemporary society – in ever-constant flux – and pairing these with seemingly contrasting archetypes to create delicate, temporal and half-familiar hybrids.
For the last few years, my work has focused on labor and its correlation to craft and time, within the context of art-making and value production.
'Liquidate it All Away' installation view at Bunkier Sztuki for the exhibition 'The Trouble with Value'
display during open studios sept - 2023
view of my drawing + painting work table
a0 poster of 'Good Housekeeping' + typewriter
"One reason why I was drawn to Carey’s practice in the first place certainly concerned the visual intelligence, one which deploys, for example, potatoes as bonafide sculptural elements, with which she handled the subject of the individual’s – the artist’s? – fraught relationship with the multitude, the vagaries of group psychology and “crowds and power” (to paraphrase the title of Elias Canetti’s well-known study of crowding phenomena) being one of her main ‘political’ concerns, also within the context of, or with regards to, the art world’s reliance on the perpetuation of certain power structures." – excerpt from a text by Dieter Roelstraete
Werk
The Worker's foot (at home)
Eternity studies (#3)
Free Eggs for Everyone
'Liquidate it All Away'
Future Farming
Scratch my back and I'll give you some sugar
Bio
Rachel Carey (*1976 in Kansas City) is an American artist based in Rotterdam. Working across various mediums, her practice is a constant research into finding idiosyncrasies within social configurations of contemporary society - in ever constant flux - and pairing these with seemingly contrasting archetypes to create delicate, temporal and half-familiar hybrids.
Carey has a BFA in Metalsmithing from the University of Kansas; a DNSEP from L'Ecole Supérieure d’Art Metz, France; and she is a graduate of the MFA at the Piet Zwart Institute in Rotterdam. Prior to her art studies, Carey first studied International Business and Economics. Her writings have been published in 2HB by CCA Glasgow and LemonMelon. Carey was also a founding member of Sils Projects (2010-2014) in what is now Yasam Grocery store in Charlois.
Carey has a BFA in Metalsmithing from the University of Kansas; a DNSEP from L'Ecole Supérieure d’Art Metz, France; and she is a graduate of the MFA at the Piet Zwart Institute in Rotterdam. Prior to her art studies, Carey first studied International Business and Economics. Her writings have been published in 2HB by CCA Glasgow and LemonMelon. Carey was also a founding member of Sils Projects (2010-2014) in what is now Yasam Grocery store in Charlois.
