by Rebecca Bluestone
Kristin Wigley-Fleming Fine Arts Gallery, Center for the Arts
September 1 - September 25, 2004
There will be a Gallery Reception Wednesday, September 22, 2004 at 10:30 a.m. All are welcome.
Rebecca Bluestone is a prolific and influential artist who began weaving in 1984, when she apprenticed with Nancy Lubin, Western Maine Weavers, Camden, ME. In 1986, she moved to New Mexico and studied with contemporary Hopi weaver Ramona Sakiestewa in Sante Fe. Since that time, her works have been displayed in dozens of exhibitions across the United States and internationally. In 1998, she was awarded an Art-in-Architecture Commission for the United States Federal Courthouse in Albuquerque, NM, and in 2001 received the Taos Gallery Association's Merit Award at their Spring Arts Celebration. She is an active presenter and teacher with professional weaving groups, most recently serving as a featured speaker, juror and workshop leader at Convergence 2004 in Denver, CO. She has been profiled in numerous publications, including American Craft, Architectural Digest, and Fiberarts. Her work can be found is such prestigious collections as the Chicago Art Institute, the Museum of Arts & Design in New York City, the Denver Art Museum, and the U.S. Embassy in Ottawa, Canada. Private collectors of her work include actor Robert Redford.
"I am a contemporary abstract artist using traditional tapestry techniques and hand-dyed silks of varied textures and sheens and metallic threads woven on a cotton warp as my medium. The techniques I use come from the tri-cultural weaving traditions of the Southwest: Native American, Spanish and contemporary European influences. In my work I am committed to preserving this ongoing tradition while expressing my own ideas. My work is very sensitive to, and evolves out of, what I refer to as the 'spiritual geography' of place.
For a long while my work has been about creating contemplative space and addressing the human state of body, mind and spirit. By using natural fibers, color, repetitive geometric shapes and the rhythm of the Fibonacci sequence, I have attempted to draw the viewer into an internal and external landscape. I use color as a way of creating an opening and accessing the many layers of consciousness. Repetition is an important element in our lives. It is how we learn, how we build structure, how we discipline the mind and the body through developing a practice and how we build confidence to do our work in the world. Finally, I think most importantly, it is how we gain access to ourselves. Whether it is through liturgies, prayer, chanting, dance, meditation, music, there is always a repetitive element used to allow us to gain access to our innermost state of being. I use it in my work as a visual chant of repetitive geometric shapes, those most basic of shapes throughout which everything else is formed. Combined with these geometric forms, I use the Fibonacci sequence of numbers (1,1,2,3,5,8,13,21…). The ratio between any of these numbers that lay next to each other is the golden mean, into infinity. This progression is ubiquitous in nature down to occurring in the spiral in our DNA. It is a universal organizing principle and whether we are aware of it intellectually, I think we are intuitively drawn to. Shapes based on the 'golden mean' are said to be the most pleasing to mankind. This is not an intellectual concept, but something that we 'know' deep within our bodies."