| Reoccurring themes in my work are the texture and honesty of craft, as well as the exploration of distorting and transforming a reproduced image. Central to handmade craft objects is a reflection of the human hand and a process of mathematical, repetitive steps. Simple objects, such as baskets and woven fabrics, are not as loaded with political symbolism and formalism as traditional arts. The addition of unexpected elements or patterns can either enhance or contradict the object’s neutrality. Through my choice of subject matter and technique, I strive to create a personal language that reflects these methodologies, and incorporates my background in design and illustration. |  |
Rachel Domm
Reoccurring themes in my work are the texture and honesty of craft, as well as the exploration of distorting and transforming a reproduced image. Central to handmade craft objects is a reflection of the human hand and a process of mathematical, repetitive steps. Simple objects, such as baskets and woven fabrics, are not as loaded with political symbolism and formalism as traditional arts. The addition of unexpected elements or patterns can either enhance or contradict the object’s neutrality. Through my choice of subject matter and technique, I strive to create a personal language that reflects these methodologies, and incorporates my background in design and illustration. While my work contains elements of playfulness, there is a deeper investigation of my chosen medium through subject, structure, and color, an investigation that in either lavish washes of many shades or restrained primary tones, dictates the tone of each of my pieces.
Lately, I have been creating works with informal tools such as sharpies, markers, and food dye on non-archival substrates like newsprint that will yellow and age over time. As the ink corrupts the surface, the image itself evolves. Using these materials allows me the freedom to experiment, and keeps the work from becoming too precious. I execute the drawings with control and precision while allowing for imperfections that may occur, such as bleeding, creasing, or smudging. This transparency of process transforms a stark and mechanical image to one that is more relatable and human. This balance between meticulously patterned, geometrical textures and the imprecision of the artist’s hand playfully challenges viewers to question their expectations of form.
My recent book project The Best, which is published by Brooklyn-based publishing house, Editions, is a collection of surreal abstractions comprised of images that have been appropriated from vintage craft books and integrated with my own illustrations that utilize added layers of pencil, patterns and paint to recontextualize the materials from their original source. Each image plays with the idea that fiber arts contain anthropomorphic qualities and thus can be seen as unique, abstract interpretations of the natural world. Whether intentional or random, in the process of creation, these forms are ascribed human qualities through the personal vision of the craft-maker’s representation.
