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Jane Richlovsky

Primary

  • Recent Work
    • Screenprints
    • Reliefs
    • Installation
    • Time Lapse
  • Paintings
    • Futures Past
    • Floor Plan for the American Dream
    • I’ll Never Have That Recipe Again
    • Reinventing the Wheel
    • Archive
    • Pricelist
  • News
  • About
  • CV
  • Press
    • Quotes & Links
    • Catalogue essay
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  • Before they became paintings, the pieces of fabric I paint on had lives of their own. They were tablecloths, curtains, slipcovers, and other domestic ephemera.
  • I start my compositions with the clean-lined, cavernous dream spaces of mid-century modernist homes, which I lift from the pages of vintage homemaking magazines. I draw them large in charcoal, combining elements from several sources.
  • I harvest human characters from advertisements, pulling them out of their original contexts.
  • I draw the people on separate pieces of paper, cut them out, and pin them up in their new homes. I move them around, redraw them in different sizes, change out their spouses and furniture.
  • In the drawings I work out the scale, the point of view, and how much I want to mess with traditional perspective.
  • When I arrive at a composition I’m satisfied with, I commit and glue them down.
  • Then I crop the drawings, sometimes as rectangles, sometimes along perspective lines.
  • I build a panel or panels to match the cropped shapes, cover the panels with the printed fabric, and seal them with clear acrylic.
  • I usually have an idea of what I want the people and their furnishings to convey through the patterns they’re sporting.
  • In this series I wanted everyone to be clad in bright geometrics, to emphasize their modernity, and as a counterpoint to the nostalgic vibe some of them give off.
  • I block the image onto the surface in paint, measuring from the drawing to get the figures in the right places.
  • I use oil glazes to form the shadows on the figures and give them dimension.
  • Here is “Best Combination of Filter and Good Taste” sketched onto the panel.
  • . . . the same piece blocked in . . .
  • . . . and a little further along.
  • Before they became paintings, the pieces of fabric I paint on had lives of their own. They were tablecloths, curtains, slipcovers, and other domestic ephemera.
  • I start my compositions with the clean-lined, cavernous dream spaces of mid-century modernist homes, which I lift from the pages of vintage homemaking magazines. I draw them large in charcoal, combining elements from several sources.
  • I harvest human characters from advertisements, pulling them out of their original contexts.
  • I draw the people on separate pieces of paper, cut them out, and pin them up in their new homes. I move them around, redraw them in different sizes, change out their spouses and furniture.
  • In the drawings I work out the scale, the point of view, and how much I want to mess with traditional perspective.
  • When I arrive at a composition I’m satisfied with, I commit and glue them down.
  • Then I crop the drawings, sometimes as rectangles, sometimes along perspective lines.
  • I build a panel or panels to match the cropped shapes, cover the panels with the printed fabric, and seal them with clear acrylic.
  • I usually have an idea of what I want the people and their furnishings to convey through the patterns they’re sporting.
  • In this series I wanted everyone to be clad in bright geometrics, to emphasize their modernity, and as a counterpoint to the nostalgic vibe some of them give off.
  • I block the image onto the surface in paint, measuring from the drawing to get the figures in the right places.
  • I use oil glazes to form the shadows on the figures and give them dimension.
  • Here is “Best Combination of Filter and Good Taste” sketched onto the panel.
  • . . . the same piece blocked in . . .
  • . . . and a little further along.

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