https://www.rachelowensart.org/https/drivegooglecom/file/d/0b8uatnep3heuejfnwtkzynyyvuk/viewuspsharing daily 0.75 2024-10-29 https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1730215591058-W42J8P97Q0CN23VZMR50/image-asset.jpeg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1730215591058-W42J8P97Q0CN23VZMR50/image-asset.jpeg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1683127507284-J04AFUSUYZ5YJWWFCXJL/image-asset.jpeg Select Press - Artnet Pick: Real Fragile, Geary Contemporary https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1730215885289-R0HGZ84K1F7HLYR2PP0B/image-asset.jpeg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1674146549289-3GGE02WM3Y6BTB9K0ABB/image-asset.png Select Press - History Channel An essay written for Glass Quarterly about working with history and bringing together seemingly disconnected aspects of site including the Mary and Eliza Freeman Houses, a coal burning power plant, and PT Barnum in Bridgeport CT. https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1674146721645-260QGUCIJDW1MHZ43IG8/image-asset.png Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1594843815297-VYTSOHVGDBMJVEFIIS8Z/image-asset.jpeg Select Press - CT Post The Hypogean Tip https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1594843911684-YNOH9CZUN0UHR5NIP3D1/image-asset.jpeg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1547223035092-Q75C0973XRXRURK33OON/Glassy+Ch+1.jpg Select Press - Glassy Shanghai English: https://drive.google.com/open?id=1u7cLyW0GP1Qku8xdMKDCFQd3-gb51nLu https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1547223116845-Q7A523V63GB7CZYBE50C/Glassy+Ch+2.jpg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1547223178257-K5B7EQJZXR34XLXVK73T/Glassy+Ch+3.jpg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1524321643760-ZFIUCDVMARN0YHSGBP84/Screen+Shot+2018-04-21+at+10.39.33+AM.png Select Press - Magic Praxis Podcast Interviewed here by Clarity Hanes and Kate Hawes https://podcasts.apple.com/us/podcast/magic-praxis/id1177778129?i=1000409427812 https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1499092595273-Y84MAW834VMMOU8HGKS9/Owens_20170405_Hyperallergic_Page_1.jpg Select Press - HYPERALLERGIC review https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1499092731747-N88AZIMIEYCEUIQO4237/Owens_20170405_Hyperallergic_Page_2.jpg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1499092777645-7F9WTQVGS9CG6Z6QSWXS/Owens_20170405_TimeOut.jpg Select Press - TimeOut Review https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1438127834708-P7IYPBMQC1I12QCQZ6A6/image-asset.jpeg Select Press - Glass Quarterly Summer 2015 https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1438177843953-4MMLJS358H6AV02F4B1Z/image-asset.jpeg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1438128177667-PV4DQBVWDITBGNK7RHTE/image-asset.jpeg Select Press - Full Article Click below for full article https://drive.google.com/file/d/0B8uatNep3HeUejFNWTkzYnYyVUk/view?usp=sharing   https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1438128554347-72CDETDDHKB7UKFG01T6/image-asset.jpeg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1467732417033-4F2U2TCLN7SSDLEJ0GZD/gut+rehab+review_Page_1.jpg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1467732436621-ID2IO19FSKO08Y9OEGM8/gut+rehab+review_Page_2.jpg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1431103244516-HWX6P5BB7LNJZQ9RVXSC/Owens_NYT+Press_8-10-10.jpg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1431104148917-AR79URKL6OLTP3RDL2JS/Owens_BrooklynEagle_Oct2013-page-001.jpg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1438178854963-S8JIJH336JL74XNKTMBQ/image-asset.jpeg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1431104180231-C8OH2ROJ71SR9J8N8MZN/Owens_sculpture+April+2012+copy-page-001.jpg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1431103216139-KAQ6TAZHCJYTN33NEBTN/Owens_Metro+NY+11-17-11.jpg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1431104176117-QSPX3DHSI3WIT2T3NSZ7/Owens_NY+Daily+News+1-31-08-page0001.jpg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1431105410477-I7DHMQAICXHLAINZ93PH/Owens_Philadelphia+Inquirer+12-06-06-page0001.jpg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1431104145272-YEEAP1AX3CLKQFD7DE4E/no+apology1.jpg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1438261946046-RN893MR445VA1GKKTS4J/image-asset.jpeg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1431104143272-HATDSF75O7LQABL6UV4J/flashart.jpg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1431104185864-8RGYJDAKT2D3UYKU9D9I/Owens_Ny+Times+04-page0001.jpg Select Press https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1431104188803-8BYGG4MIK0VD9NU35N7O/Some+Exhaust_New+Yorker+09-04.jpg Select Press https://www.rachelowensart.org/work-forte daily 1.0 2024-08-20 https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1497040178393-17SL84ROVD7EB2POX43U/Owens_Mother_2017_Install_1_3000px.jpg Projects https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1488634587185-JL0VWXV6M3ZMULM624MP/IMG_5168.jpg Projects - Machinations: A Workshop and Performance Nov 28 - Dec 4, 2016 Boris Yeltsin Center, Ekaterinburg, RU Sponsored by the US Consulate, Ekaterinburg In English the word machination means: a scheming or crafty action or artful design intended to accomplish some usually evil end. Rachel Owens’ project at the Yeltsin Center takes this meaning and gives it a twist. Her exhibition includes the video Synching as well as a workshop that culminated in a public performance. Syncing, a single channel color video with sound continues a series of works inspired by Augusto Boal, presenting a video installation using the techniques of the "Theater of the Oppressed." Individuals from Owens’ community in Brooklyn, perform a movement exercise called “Emily's Morph," attempting to achieve unity without traditional communication (including speech nor direct eye contact). The diverse group, which is reflective of the larger community, move forward together struggling to reach a common end. This game is both a consensus building exercise and an inquiry into power relations between the participants and the larger groups they represent. In an international setting it is effective, the common languages being movement and abstract sound. Working with community members from Yekaterinburg, a 2-day workshop was held exploring more games from Boal's book Games for Actors and Non-Actors. These activities attempt to deconstruct power hierarchies within communities and create an understanding of systemic oppressions existing in larger groups as well as individuals. The workshop resulted in a public performance which included its audience. Along with other actions, workshop participants led the formation of "A Machine," many of the viewers join and also become performers. The exercises used in Synching as well as the ones workshop participants perform, all attempt to deconstruct preconceived notions of power and hierarchy. These notions are both internal as well as external to the individuals, group, and social structure as a whole. Boal believed culture could be used as a weapon in order to lift people up, this is our machination. https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1430506646247-2YN1XECEFDNEALU7KIPF/20Props+installation+shot.jpg Projects - 2010 Props ZieherSmith Gallery NYC For her fourth solo exhibition at ZieherSmith, Rachel Owens will incorporate a dialogical theater project to her more traditional sculptural practices, both of which manifest her longtime interest in issues of social and political subjugation. The centerpiece of the physical exhibition is Stage, a sculpture representing a skyscraper section, ambiguously either partially demolished or not yet complete. Stretching from floor to ceiling, the piece becomes a part of the gallery's infrastructure. In addition, it will serve as stage and set for politically charged performances acted out by New York City artists and local Chelsea residents, giving the installation further power as metaphor for the breakdown of hierarchies and, more locally, referencing the recent proliferation of monolithic high-income condos bordering the neighborhood. The main performance on Wednesday evening, September 22nd at 7:30 pm, will be the result of a collaboration with artist and activist Candice Sering and a series of theater workshop intensives, co-facilitated by Owens and Sering and based on techniques from Theater of the Oppressed. 12-15 participants invited from the diverse neighborhood of Chelsea will act out individual stories pertaining to what it means to be a member of the community, and in particular, explore both personal and systemic forms of oppression. The audience of this “Forum Theater” will attempt to provide alternate resolutions to the short non-cathartic plays. Another edition of Theater of the Oppressed will first be performed by the Red Hook Theater Project, September 15th at 7:30 pm. Other sculptural elements of the exhibition echo these themes of destruction and renewal, oppression and release. Framing the entrance to the main gallery, Topiary features two massive pyramids of glowing shards of broken glass, materials salvaged from local restaurant detritus and transformed into archetypal symbol. Thrown, a set of gold-leafed bleachers, decentralizes the hierarchy of the classic, elevated throne and provides multiple resting spots for visitors, as well as audience seating for performances. Other works are anthropomorphized assemblages, with materials including drift wood, saw horses, top hats, and outsized men's shoes, often with a gold leafed or scorched surface that alludes to the all too frequent codependency between wealth and destruction or even violence. Owens has created site specific, monumental sculptural work for exhibitions including the recent NineteenEightyFour at the Austrian Cultural Forum, New York and Socrates Sculpture Park. She will complete her next major installation, Inveterate Composition, across from the United Nationas at Dag Hammarskjöld Park in 2011. She has also been included in group shows at galleries including On Stellar Rays, Armand Bartos, and Lehmann Maupin in New York, among others internationally. Her performance collaborator Sering has studied with Julian Boal, son of Theater of the Oppressed founder Augusto Boal, at the Theater of the Oppressed Laboratory at the Brecht Forum, and with Falconworks Artists Group in Brooklyn. https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1553282550978-P3YAEDSYBF896BKSDURH/COLLAGE%2C+PATRIARCHY%2C+2.jpg Projects https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1554735601403-XEVQRHGK3LYY81R4024T/4.Life+on+the+Other+Side+of+a+Cracked+Glass+Ceiling_bottom.jpg Projects - Life on the Other Side of a Cracked Glass Ceiling This continuing work is a prospective futures project whereby viewers and participants actually get to experience life above the cracked glass ceiling. This iteration was made for the exhibition Ecological Dreaming curated by Stamatina Gregory initially for the Volta curated section in 2019, unfortunately the exhibition was postponed due to the structural issues on Pier 92, but hopefully will be coming to a new venue soon! https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1597856732086-8OA5BES3658ESISAI611/Happy+Hardcore.jpg Projects - Cave of the Anthropocene Installed at Miriam Gallery 2020, Brooklyn NY https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1431613568739-BYXQ33UP358BEP0TG2CB/Owens_IN2959+Re-Construction+%231.jpg Projects - 2008, Reconstruction, Triple Canopy and Harboring Reconstruction #1 13.5 x 11 inches Triple Canopy These collages shown in their physical form with the exhibition Harboring were originally created for Triple Canopy's 4th issue, "War, Money, Magic". The figures in the pictures all found on the internet fold time and space in their embrace. From Iraq to New Orleans and from current conflict to WW2, the figures recombine in empathy. From Triple Canopy: In 1988, when Owens was sixteen, she visited her father in South Africa, where he was a missionary. He helped arrange a conversation with Nobel Peace Prize recipient Archbishop Desmond Tutu; Owens asked Tutu about religious strife and the nature of violence. His response, and twelve new collages drawing on images of putative enemies found on the Internet, constitute the second project in Triple Canopy’s Internet as Material series, which is intended to facilitate the creation of original work specific to an online space, by visual artists who have never done such work. https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1663425806636-HJ9R9LGPXKT0DUYD8BBV/image-asset.jpeg Projects - Real Fragile Geary is pleased to presentReal Fragile , Rachel Owen’s first exhibition with the gallery. The most personal work that Owens has produced, it was made upon the transition of her life from New York City to Amenia, New York, where she has lived since 2020. The materials that Owens uses are integral to the meaning and forms of the work. The objects inReal Fragile explore the precarious nature of existence, where the limbs of people, plants, and trees fold together. Two enormous stumps: what were once enormous trees, are no longer still, but swell as the faint form of a body seems to be lifting them into motion. Both of these enormous Ash Trees were killed by the Ash Boring Beetle and felled by Owens when she acquired the land. Cutting these enormous trees down was a rigorous performance, and the sculptures remember the trees. Truncated limbs become a tooth and a bent knee, snarled and sprouting mushroom adornments. The Maple tooth (Molar #3) was taken from a downed limb of a 60 year old Norwegian maple, and the knee: a branch of a large Ash that succumbed to the Ash Boring Beetle, a transplant of a global economy that has wiped out the North American Ash Tree. Its tiny boring holes have been illuminated in paint, becoming squiggly bug drawings. A pair of uprooted Yews lift a harvest of potatoes cast in resin and broken glass. The underworld has painted toenails and is rising to the occasion. Yews are referred to as the tree of death, poisonous to humans and to animals. This evergreen also contains chemicals used in anti-cancer drugs, but is perhaps most well-known as a popular topiary hedge for garden sculpture. What appear to be three masks are placed on a shelf. Gloves are provided so that one might handle them, feeling their weight. These turn out to be the insides of masks worn by the artist during the pandemic. This is the space of her breath; a physical manifestation of air rendered in the most permanent of materials: bronze. It’s easy to forget that people have always been a part of nature, but when Owens shares these generous moments of intimacy with us throughout Real Fragile, it becomes just a little easier to notice. https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1511634818947-CM4E71PDWIN1DB8QVAX5/01+Owens_LifeOnTheOtherSide.jpg Projects - Mira Schor, Teach-In, Feminism and #metoo First iteration of the project at, It's Happening: Celebrating 50 Years of Public Art in NYC Parks. Central Park, Oct 21, 2017 https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1656941223526-5BWWLRFR9GSWA96MQ00Q/image-asset.jpeg Projects - Hypogean Tip at Sugarhill Museum February - December 2022 https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1717596105064-DE3VQA2BW8T8W0DWIE3M/install+maass+gallery.jpg Projects - Future Fossils This project tells a deep geological story showing the connection between ancient trees and ourselves. Working in conjunction with the NY State Museum in Albany NY as a visiting researcher in the Paleontology Department, I am 3D scanning their collection of fossilized remains from what is considered the worlds oldest known forest. These scans result in traditional molds in which broken up cycled glass and resin are cast to create sculptures. Like stained glass objects, they take on a celestial glow elevating the rocks to their important status as our plant ancestors. 400 million years ago in the Devonian period, a cluster of Eospermatopteris trees grew along the Catskill Sea in what is now the Catskill Mountains. This period is the beginning of the greening of the planet at which point CO2 levels changed sufficiently for creatures to live on land. When these trees lived, is the moment that the animal kingdom started crawling out of the water and onto land. All of this work and the larger project are meant to have us consider both our importance and also our absolute insignificance within the Earth's history and trajectory. This work is ongoing so stay tuned!!! https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1430507063428-DMRT26CNY1CBFQY3JAZH/1.++almost+antipodeans%3A+kras.jpg Projects https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1430508523987-FBGWDBF0FU1E67HCZ2D6/IMG_0214.JPG Projects https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1431365797384-Q2KFKGFRPU05WNYJCWA2/04_POPs+detail.jpg Projects https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1430775220757-0L08OQAC5SZDPOZ04GN9/IMG_0269.jpg Projects - 2008 Harboring, Ziehersmith Gallery NYC In her third solo show at ZieherSmith, entitled Harboring, Rachel Owens creates a landscape littered with debris reborn into stilted, anthropomorphic forms and geo-political tableaux. Reforming palettes as pedestals, beer bottles into stained glass, and oil drums as frames, the artist uses reclaimed materials to both recycle and criticize the detritus of industrial and civic waste. In all, the exhibition continues her exploration of paradoxical current affairs as well as our individual tendency to feel powerless to confront the crises of our surroundings. An emotional resonance takes the works beyond any one single issue and into a universal realm. In The Take Down, Owens’s torn and battered chain link fence is being overcome by vines of broken bottles which transform the sunlight into a kaleidoscope of green and brown. While the piece speaks to interactions between human civilization and nature, Owens is further exploring the dynamic between one man-made structure representing restraint (the fence) and another man-made structure which is loss of control (garbage). Owens’s recent installations, such as Groundswell at Socrates Sculpture Park in 2007-08, have featured birds as a point of reference for the viewer’s identification and personification of quiet resilience. Several new works are populated by these creatures, crafted from old oil canisters and other remains. They sit atop the branches sprouting from the PVC piping in the fountain piece, The Trickle Down Effect, Owens’s industrial Daphne. Another bird supplants the visage for Self-Portrait’s spindly crutch figure. In 1988, the then sixteen-year-old artist visited her missionary father in South Africa and was able record a brief interview with Archbishop Desmond Tutu. Her questioning of humanity elicited patient, poignant truths from the Nobel Peace Prize winner. His answers voice the video School, a South African montage contained inside a rusty barrel stabilized by sandbags stitched from a toile fabric featuring idealized peasants, a decorative notion closely tied to colonialism. Maintaining that “human beings are human beings are human beings,” his words are mixed with tolerance and resignation. Owens received the 2007 emerging artist fellowship at Socrates Sculpture Park. Her work has also been seen in Empathetic, curated by Elizabeth Thomas for the Temple Gallery, Philadelphia as well as in group shows at Francosoffiantino Artecontemporanea, Turin and Lehman Maupin, New York. Her fountain installation, Wishing Well, was featured at the 2007 NADA Art Fair. https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1431375065736-HTSEJMCSJS2HWVTJACYI/Screen+Shot+2015-05-11+at+4.05.56+PM.png Projects https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1430774926487-TT5Z1AP6QLZCWNLLQ3CJ/1Groundswell.jpg Projects - Groundswell, 2007 At Socrates Sculpture Park, Rachel Owens has created Groundswell, a piece that both remembers the site's history as a landfill and illegal dumping grounds as well as addresses larger issues of failed cultural conditions, waste and our mysterious underground infrastructure. Massive underground plumbing pipes erupt from beneath the soil and sprout into a tree-like structure whose limbs spout water, creating a fountain that dumps into an oil drum below. Perched dejectedly above is a monumental black rubber raven. Owens received the 2007 Emerging Artist Fellowship from Socrates to realize this project, which was featured as a must see in New York Magazine (September 24, 2007). https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1431368428985-8LETJ48X0VVDF8ZMDEHH/image-asset.png Projects - 2012, Negative Space The video Negative Space captures and contrasts some of the many activities that took place around Inveterate Composition at its original location by the UN ranging from political protests to a music video by a girl pop group, G-Pow. Created to remember where the sculpture was originally installed once it moved to the Frist Center in Nashville, Negative Space examines what happens around a public sculpture. All the footage taken from youtube, the found clips themselves explore the internet as public domain. https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1430775747033-CMJ4FALMB76TUJ86X7MS/Owens+RISD+small_Page_13.jpg Projects - 2012, Emergency Making Action, New Museum Window, NYC In December 2012 Owens moved studio operations into the window at the New Museum Bookstore. During Hurricane Sandy she lost her Redhook apartment , making a residency particularly poignant . While residing in the window, Owens produced a series of multiples based on experiences in the storm to be sold in the bookstore, with a portion of the profits going to Redhook non-profits who were instrumental in helping people. The first multiple is a small object, a cast of a MRE or Meal-ready-to-eat. Immediately after the storm the National Guard took up their own residency in Redhook patrolling the streets and handing out MRE's. These meals are used in emergencies and war to provide hot meals in the field. Cast in plaster, these objects are all white, a ghostly memory of itself. The second series of works are woven collages that are scanned, printed and cut out to be sold as cards. Using found images as well as photographs taken after the storm to document the damage, the images exist simultaneously and explore the social and environmental causes of an ever increasing severe weather pattern. The window is transformed from a display to production site. Instead of increasing the distance between maker and consumer as an ordinary display might, this window decreases that distance. https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1430509860567-85S7SI4QHUIOY8AWGAZC/37map.jpg Projects - Skin (US), 2012 BAM Next Wave Festival Commissioned for the BAM 2012 Next Wave Festival, this large leather banner and accompanying collages follow the 2012 presidential election and its fixation on color as associated with states and their political and idealogical leanings. Traditionally only blue and red, this map goes wild using all colors and transforming the work into a piece more akin to a painting. Using remnant leather from luxury retailer COACH, front and back sides are both exposed such that viewers can consider surface and what lies beneath. The woven paper works that accompany are each made up of 2 images, one from Designing Camelot a book chronicling Jackie Kennedy”s redecorating of the White House and one from a current NYT- folding time and examining how issues of race and gender have changed since the “golden age” of the Kennedy”s.   https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1430775384886-QFQEFR9DB57RZGV834ZS/17Privet.jpg Projects - Privet, 2010 Nineteen Eighty-Four, Austrian Cultural Forum broken bottle glass, Plexiglas, & lights, 84 x 96 x 24 inches Commissioned for the exhibition Nineteen Eighty-Four, Privet addresses the subjects of control and power, specifically control through desire, through the symbolic representation of a separation between those who have wealth and power, and those who do not. The work's title and form are based on the privet hedges that surround grand estates and opulent summer homes, separating private and public spaces, while nonetheless remaining somewhat transparent. This slight transparency keeps the promise of wealth alive, ensuring that the power structure between rich and poor remains intact. Covered in hand applied shards of bottle-green glass, the work simutaneously repels the viewer with its inferred danger and attracts through its alluring transparency. -excerpt from the exhibition catalogue https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1430777160716-PQEDBBD2BNIFNDEJYF6S/IMG_0198.JPG Projects - SOS, 2006 Variable dimensions cardboard, tires, broken glass, bottles, lights, tar paper, 3 sec sound (SOS) looped part of exhibition Ionescoes Friends at Franco Soffiantino, Turino, IT https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1430775678387-3NP1MQEGYK1GFK28UL0Y/16Steer+.jpg Projects https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1430774784019-738FYJHBSO2JX6DHBIVU/16owens_Skin_Antarctica.JPG Projects - Soft Edges 2013, Track 13, Nashville Tennessee Soft Edges refers to the method of rebuilding dunes and mud flats around flood zones as protection during major storms. Owens lost her Red Hook (Brooklyn) home of over 10 years due to flooding from Hurricane Sandy. Running concurrently with her opening at the Frist, the show features works on paper, textile, and video, the exhibition is directly related to both the artist’s post-storm experience as well as to Inveterate Composition For Clare. Over a dozen of her woven collages juxtapose images both personal and from the internet, relating to the storm’s environmental and socio-political impacts. The physical process of weaving the imagery gives the work a bas relief dimensionality. The newest in a series of leather works, Black Hole is a patchwork skin of Antarctica hand-stitched made from bits of salvaged clothing, handbags, fur coats, and rubber. The soft, mostly black piece is a contrasting companion toInveterate Composition.   https://www.rachelowensart.org/curatorial daily 0.75 2021-03-24 https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1467728724980-6YAP8OM929UPDCF98RAH/IMG_3720+%281%29.JPG Curatorial Rachel Owens https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1616608906039-4K48P76YYWP26X5QT265/untitled-4.jpg Curatorial L: Hock E Aye Vi Edgar Heap of Birds R: Lachell Workman https://www.rachelowensart.org/about daily 0.75 2025-09-01 https://images.squarespace-cdn.com/content/v1/5543c1bee4b03724d709ff57/1d1da393-ae59-4fd5-bda0-7797454b884f/headshot+2-20-22.JPG BIO and CV - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.rachelowensart.org/new-page daily 0.75 2015-10-05 https://www.rachelowensart.org/new-page-1 daily 0.75 2019-04-02