About Artist:  

Artist Statement | Bio | Exhibition List | Awards & Publications | Performances

 

Artist Statement 2004 – 2007

For several years my artwork has been inspired by estuaries.  I’ve been exploring flow patterns, saturation, and sedimentation in liquid media.  I have traveled by kayak and on foot up sloughs, along shores, among reeds and through mud to study wetlands.  I have used water, salt, mud, and reeds in my studio experiments.  My concerns are about flow and form.  These images reflect our cellular structure as much as the shape of estuaries. Estuaries are a mix of salt and fresh water, similar to our own intercellular fluid.  The rhythmic exchange between land and water gives us a rich metaphor for dynamic equilibrium.  The cyclic nature of tidal marshlands is a reflection of our own cycles and rhythms.

I have been constructing a series of multi-sensory installations with hanging panels that are touchable, move in response to the viewer’s movements, and in some cases can be walked upon.  The scroll form suggests story or language; the images invite a journey through their details.  My newest work includes pendulums and spinning sculptures which speak more literally about the cycles of the moon and tides, and the movements of water and mud.  I am juxtaposing moving images against still images to suggest interrelationship that is physical, kinesthetic, and ever changing.

I am suggesting a different view of ourselves, our inner nature, and our relationship to outer nature.  Our control of nature in agribusiness and development has been paralleled by our fragmented and controlling view of our bodies and our health.  The health of our waterways is one of the most important ecological concerns facing us. With my artwork I want to invite a perceptual shift: self-recognition and embracing our fluid nature can potentially change the way we regard both our own health and the health of our environment.

Artist Statement 1990 - 2004

These drawings emerge out of a fifteen-year investigation with drawing as a means of mapping and a crucible for inquiry: what is it to be a soul with a body? Can I record the experience accurately rather than “realistically”? The body experienced is a very different body from the one that we can see with our eyes. This process of questioning perception seems to tap into a collective body and a collective mind with infinite guises and expressions.

I work with both hands, and sometimes with eyes closed -- less a drawing technique than a drawing foray or approach. Drawing with two hands brings in the whole body-mind, and the visual result is an odd, liquid 3-dimensionality, similar to vision with two eyes, but with a different sense of form and space. Drawing in this way reveals but doesn't name. I call my approach “Somatic Drawing” (“somatic” refers to the body as a multi-layered experience). Presence in the act of drawing brings a presence to the image.

Paper seems to hold so much about the human need to communicate. Paper is still made of the most basic natural materials. It is like skin, and it is related inextricably to the ancient roots of language. Drawing also shares its roots with written words and characters. To make a mark has meaning, even if the meaning is not known before the mark is made. Drawing is an open language, unavoidably human and culturally eclectic. The naked mark on paper is the essence of our longing to connect.

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Bio

Rebecca Haseltine is dancing in her earliest memories. She put together a special major in college that combined dance, art, physics, and education. This is still the broad area of interest that underlies her work. After performing professionally as a dancer for many years, Haseltine got a tiny art studio and began developing movement-based drawing. Over the years she deepened this practice through studies in Body-Mind Centering, a profound training in physiological awareness(www.bodymindcentering.com and www.bmcassoc.org). Rebecca has taught classes in Body-Mind Centering and has maintained a private practice in somatic movement therapy since 1992. Studies in Qi Gong, Tai Chi, Yoga, and Bagua all influenced her perception of the body as more (or less) than physiology. Haseltine has offered her Somatic Drawing classes and workshops in the Bay Area, Ireland, England, Holland, Germany, and Denmark. Haseltine taught art and movement integration at the Bridge School 1995 - 2006. The Bridge School (www.bridgeschool.org) was created in 1987 for children with severe physical and language impairment. The goal of the school is to equip the students with an array of communications strategies before transferring them into the general education system. Haseltine has a profound curiosity about language and communication for which drawing has been a means of investigation and experimentation.

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Exhibition List

Walking on Water,  set for theater/dance performance (choreography by Kate Tarlow Morgan), Alstead, NH  November 2006

Plunge:  Estuary / Phase IV,  mixed media installation, San Francisco, October 2006

The Box Show; “Box Dreams”; group show, Gallery Route One, Point Reyes, CA,  August 2006

Gallery Route One; Estuary / Phase III Collaborative installation, Point Reyes, CA; 2006

Crissy Field Center; Estuary / Phase II Collaborative installation, SF, CA; 2005

UN World Environment Day/ Natural World Museum Estuary Excerpts, Curated show; SF, CA; 2005

Estuary / Phase I, Collaborative mixed media installation, with Joan Jeanrenaud, composer, and Barbara Klutinis, filmmaker. San Francisco, 2004.

ARTIADE, the Olympics of Visual Art, Juried International show to accompany the Olympics; Athens, Greece; August 2004

Somarts Gallery,
Curated show, SF, CA; 2004

Michael Martin Gallery,
Curated show, SF, CA; 2003

Rogue Gallery, Curated show,
Medford, OR; 2003

Michael Martin Gallery, Curated show, SF, CA; 2002

Shibume, Curated show, SF, CA; 2002

Theater Artaud, Curated two-person show, SF, CA; 2002

Build, Curated three-person show, SF, CA; 2001

SFSU Gallery, Juried show, SF, CA; 2001

Somarts Gallery, Curated show, SF, CA; 2000

Pence Gallery, Curated two-person show, Davis, CA; 1999

University of the Pacific, Curated 3-person show, Stockton, CA; 1999

Lyon-Martin Women’s Health Center, Ongoing exhibit, SF; 1995 — present

Artists’ Alliance of California, Juried show, Pacifica, CA; 1998

ArtSpan Selections, Juried Show, Academy of Art College Gallery, SF, CA; 1998

Sight and Insight Gallery, Curated solo show, Mill Valley, CA; 1996

1870 Art Center, Juried solo show, Belmont, CA; 1996

Bayview Opera House, Curated show, SF, CA; 1996

Caged Camelion, Juried show, Los Angeles, CA; 1995

ArtReach, Juried show, SF, CA; 1995

ACCI Gallery, Juried show, Berkeley, CA; 1995

Gallery Route One, Juried Show, Pt. Reyes Station, CA; 1995

Hampshire College Main Gallery, Solo show, Amherst, MA; 1994

Gallery Route One, Juried show, Pt. Reyes Station, CA; 1994

Bucci’s “Naked Flux” group show, Emeryville, CA; 1994

23rd St. Gallery, Group show, SF, CA; 1993

Hunters Point Shipyard, Paper sculpture installations, SF, CA; 1990, 1991,1992

Footwork Gallery, “Bone Work” Solo show, SF, CA; 1992

Art Store Gallery, Curated two-person show, Oakland, CA; 1990

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Awards & Publications

Robert M. MacNamara Foundation,  residency, Westport Island, Maine,  2007

Standing with Trees, by Karin Spitfire, illustrations for book of poetry; 2005

Pollack-Krasner Foundation, Grant to Individual Artist; 2002

Ashes to Ashes…the Art of Rebecca Haseltine, Documentary video by Barbara Klutinis; 2001

Currents, a Journal of the Body-Mind Centering Association, Cover; 2001

Currents, a Journal of the Body-Mind Centering Association, Cover; 2000

Ludwig Vogelstein Foundation, Grant to Individual Artist; 1999

ACCI Gallery, Best of Show; 1995

Cummington Community of the Arts, Drawing Residency; 1992

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Performances

Through Fluid Eyes, Theater of the Unconscious, Bray, Ireland; 1999

Wreckage, choreographed and directed by KJ Holmes, Dancer’s Group Theater, SF, CA; 1999

Animal Dreams Project, Theater Artaud, SF, CA; 1994

Contraband Dance Company, Mira, Religare, SF, CA; 1989, 1990

Off Limits, written and directed by Lauren Elder, SF, CA; 1990

Bad Buys, Good Buys, Kala Institute’s “Seeing time” Series, Berkeley, CA; 1986

Invalid, Solo, Christopher Beck Theater Space, SF, CA; 1985

Unravelling, Solo concert, Cinnebar Theater, Petaluma, CA; 1983

Ann Woodhead Dance Company, Performances throughout Bay Area; 1979 - 1983

 

 

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