REBECCA WASILEWSKI

Good / Better : Why / Why Not?         custom video piece for Art on the Marquee, Boston, MA Good/Better : Why/Why Not? is a visual exploration of a minor epiphany that has caused major effects in my life. Curious and cautious by nature, I have been well served by always asking why, but that eventually lead to over-validating all my decisions. I was getting bogged down by justifying daily minutia, choices in my art practice, and major life decisions. A few years ago, I made a hasty, ridiculous drawing to use as a postcard. Anticipating a confused reaction, I added, “Sometimes it’s better to ask why not?” and dropped it in the mail. This revelation became a breakthrough in and outside the studio. By inverting the Why?, our patterns are disrupted and analyzed, and new actions are provoked. Why not? gives greater flexibility in responding, deciding, and creating. Also, listing reasons why something should not be often reveals clearer and fewer choices, leading to quicker and more instinctive resolutions. In Good/Better, this playful but profound dialogue unfolds. The lively, metaphoric video demands attention. Why? fades in slowly and is prolonged; it is the mental rut we unconsciously trace again and again. That line of thinking is cut, there is a dark pause, and finally Why Not? replaces Why?, attacking our query from the opposite direction. To develop this custom marquee piece, I teamed up with Ben Pender-Cudlip. The imagery in Good/Better is previously unseen footage from our ongoing film series Chromatic Aberrations. The HD video was shot live and uses no animation or digital manipulation except for speed adjustments. I hope viewers remain mentally engaged with Good/Better’s broad implications well beyond its short duration. At the very least, the piece substantiates itself in a most literal way: A passerby may wonder, “Why? Why is there such a strange video playing on these enormous public screens?” The simplest counter is, “Well, why not?”  

Good / Better : Why / Why Not?         custom video piece for Art on the Marquee, Boston, MA

Good/Better : Why/Why Not? is a visual exploration of a minor epiphany that has caused major effects in my life. Curious and cautious by nature, I have been well served by always asking why, but that eventually lead to over-validating all my decisions. I was getting bogged down by justifying daily minutia, choices in my art practice, and major life decisions. A few years ago, I made a hasty, ridiculous drawing to use as a postcard. Anticipating a confused reaction, I added, “Sometimes it’s better to ask why not?” and dropped it in the mail. This revelation became a breakthrough in and outside the studio. By inverting the Why?, our patterns are disrupted and analyzed, and new actions are provoked. Why not? gives greater flexibility in responding, deciding, and creating. Also, listing reasons why something should not be often reveals clearer and fewer choices, leading to quicker and more instinctive resolutions.

In Good/Better, this playful but profound dialogue unfolds. The lively, metaphoric video demands attention. Why? fades in slowly and is prolonged; it is the mental rut we unconsciously trace again and again. That line of thinking is cut, there is a dark pause, and finally Why Not? replaces Why?, attacking our query from the opposite direction.

To develop this custom marquee piece, I teamed up with Ben Pender-Cudlip. The imagery in Good/Better is previously unseen footage from our ongoing film series Chromatic Aberrations. The HD video was shot live and uses no animation or digital manipulation except for speed adjustments. I hope viewers remain mentally engaged with Good/Better’s broad implications well beyond its short duration. At the very least, the piece substantiates itself in a most literal way: A passerby may wonder, “Why? Why is there such a strange video playing on these enormous public screens?” The simplest counter is, “Well, why not?”

 

digital preview for "Good/Better: Why/Why Not?" video art commission, Art on the Marquee 

Chromatic Aberration: Signs of Things to Come, short film, duration: 2:34min

A complete piece on its own, this short film showcases a few different aesthetic landscapes that will be in the upcoming series of Chromatic Aberration short films. Each film will be 2-12 minutes long and will have focused imagery and scores to create an immersive viewer experience - each one distinct from the other. The audio on this film is composed of copyright free "Numbers Stations."

Chromatic Aberration 2, Video Still

Chromatic Aberration 2, Video Still

Chromatic Aberration 2, Video Still

Chromatic Aberration 2, Video Still

Chromatic Aberration A, short experimental film, duration 11:56 min

*sound is an integral part of this piece

This piece was an attempt to realize my prints and paintings in motion. Visually, it is not very focused and has technical issues, but musical duo Connector did such a fantastic job with the score that it is worth viewing in total. Headphones are recommended. This was a launch-pad for a second session of more directed shooting with improved technique. 

Cloudscape, oil on canvas, 24 x 18”

Cloudscape, oil on canvas, 24 x 18”

Cloud Column, oil on canvas, 24 x 18”

Cloud Column, oil on canvas, 24 x 18”

Cloud Study, oil on canvas mounted on panel, 10 x 6"

Cloud Study, oil on canvas mounted on panel, 10 x 6"

Linger and Hoist (Microscopic print series), editionable transfer, 5x9”, edition of 10

Linger and Hoist (Microscopic print series), editionable transfer, 5x9”, edition of 10

Sermon (Microscopic print series), editionable transfer, 6x11”, edition of 11

Sermon (Microscopic print series), editionable transfer, 6x11”, edition of 11

300 Octopuses (Microscopic print series), editionable transfer, 5x5” edition of 14

300 Octopuses (Microscopic print series), editionable transfer, 5x5” edition of 14

Contents of One (Microscopic print series), edition able transfer, 6x11” edition of 12

Contents of One (Microscopic print series), edition able transfer, 6x11” edition of 12


Microscopium (view from east), Site Specific Installation, Boston, MA Vutec inks on PETG plastic, Vutec inks on mounted Lintec material three suspended panels, each panel: 96 x 40”  

Microscopium (view from east), Site Specific Installation, Boston, MA

Vutec inks on PETG plastic, Vutec inks on mounted Lintec material
three suspended panels, each panel: 96 x 40”

 

Microscopium (detail view from east), Site Specific Installation, Boston, MA Vutec inks on PETG plastic, Vutec inks on mounted Lintec material three suspended panels, each panel: 96 x 40”  

Microscopium (detail view from east), Site Specific Installation, Boston, MA

Vutec inks on PETG plastic, Vutec inks on mounted Lintec material
three suspended panels, each panel: 96 x 40”

 

Title page of All the Little Live Things (artist's book) Book info: materials: book board, book cloth, etching ink on Rives BFK Lightweight Off-White paper monotype plates: 9.5x 13.5cm; page size: 16 x 24.5cm hardcover/adhesive binding, 14 pages overall book dimensions when closed: 17 x 13.5 x 1.5 cm  

Title page of All the Little Live Things (artist's book)

Book info:

materials: book board, book cloth, etching ink on Rives BFK Lightweight Off-White paper

monotype plates: 9.5x 13.5cm; page size: 16 x 24.5cm

hardcover/adhesive binding, 14 pages

overall book dimensions when closed: 17 x 13.5 x 1.5 cm

 

All the Little Live Things, page 7 monotype, etching ink on Rives BFK Lightweight  

All the Little Live Things, page 7

monotype, etching ink on Rives BFK Lightweight

 

All the Little Live Things, page 4 monotype, etching ink on Rives BFK Lightweight  

All the Little Live Things, page 4

monotype, etching ink on Rives BFK Lightweight

 

All the Little Live Things, page 9 monotype, etching ink on Rives BFK Lightweight  

All the Little Live Things, page 9

monotype, etching ink on Rives BFK Lightweight

 

Us, No. 7  monotype: etching ink on Rives BFK Lightweight Off-White paper; compositions: 20 x 14.5cm; pages: 31.5 x 24cm  

Us, No. 7

 monotype: etching ink on Rives BFK Lightweight Off-White paper; compositions: 20 x 14.5cm; pages: 31.5 x 24cm

 

Us, No. 7  monotype: etching ink on Rives BFK Lightweight Off-White paper; compositions: 20 x 14.5cm; pages: 31.5 x 24cm  

Us, No. 7

 monotype: etching ink on Rives BFK Lightweight Off-White paper; compositions: 20 x 14.5cm; pages: 31.5 x 24cm

 

Us, No. 10 monotype: etching ink on Rives BFK Lightweight Off-White paper; compositions: 20 x 14.5cm; pages: 31.5 x 24cm

Us, No. 10

monotype: etching ink on Rives BFK Lightweight Off-White paper; compositions: 20 x 14.5cm; pages: 31.5 x 24cm