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Rachel Hines
Jackson Heights, NY



ARTIST STATEMENT: Before the age of twelve I had moved nine times. Because of finances, divorces, and jobs, our family was forced to live the life of gypsies. I began to view relationships as temporary experiments. I forced bonding quickly, knowing in the back of my mind that there was an impending departure ahead.

Through sculptures such as Inclined, (2008) and Back and Forth, (2011), I set up artificial circumstances for intimacy. These performative sculptures describe the action I request from the viewers by the form that they take. In Back and Forth two swings are attached to one another at eye level. When the participants engage with the sculpture they negotiate the terms of use in the same physical, verbal, and visual ways one determines power in a relationship.

Similarly, my videos experiment with relationship limits, testing them through simple actions. In Trying, (2009) two figures sit facing one another in a canoe as they paddle. The result of this action is that the boat turns in circles, commenting on the endless work of being with another individual as well as the constant desire to reach the other person.

Recent performances such as will you spoon with me?, (2008), Call me when you get this, (2010) and Lollygagging, (2011) involve challenging myself and the viewer to bridge the gap from strangers to lovers. In will you spoon with me? I built a six-foot tall bed in the gallery and asked gallery goers to climb up the stairs and spoon. For five days I did this same action with over 100 people.

I’ve watched the formation of connections carefully throughout my life. My work attempts to manifest these observations in a relatable and experiential way. I feel the distance between the viewer and myself. Each piece attempts to analyze the reason for that separation and to close the spaces.

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  • Lollygagging
    2010
    Performative Sculpture
    Wearing a long dress that culminates in a full tent, viewers were allowed to enter as they please. Playing on the idea of domestic and private spaces made public, I invited viewers to camp out in m

  • Back and Forth
    2011
    Performative Sculpture
    Two swings are attached at the center.

  • Back and Forth
    2011
    Performative Sculpture
    When I was a little girl my friends and I would swing all recess long. When we were in sync, we said we were married. When swinging opposite of one another, we were divorced.

  • Back and Forth
    2011
    Performative Sculpture
    The negotiation of relationships happens through verbal, physical, and mental compromise. Can two people make it work together?

  • I am a human blanket.
    2010
    Post card
    Postcards given to people walking by in NYC. While living in Beirut, Lebanon, I was asked to show my work in New York. Being on the other side of the world, I wanted to send word home of my journey

  • Touch and go
    2012
    Performance
    Resist nothing. Subway commutes provide for daily redefinition in personal space. I used to try to avoid contact with each person, doing my best to keep my appendages to myself. In this ongoing pie

  • will you spoon with me?
    2008
    Performative Sculpture
    Five day performance in which gallery goers were asked to spoon with me. In NY, the decision to be with other people is not a choice one can make. Subways compact us with our fellow riders like sar

  • will you spoon with me?
    2008
    Performative Sculpture
    During the five days I spooned with over 84 unique people. Some came back multiple times, meaning over 100 spooning sessions. All documentation was staged before the show opened; none of the participa

  • will you spoon with me?
    2008
    Performative Sculpture
    Each spooner was entirely unique. Some quiet, some talkative, some quick, some warm. All respectful.

  • Inclined
    2009
    Performative Sculpture
    An antique love seat is modified to draw people closer together. After performing live with my audience, I wanted to give my viewers further choice. This device intends to take me out of equation,

  • Extension
    2010
    Video Installation
    Video projection that allows the viewer, if positioned at the center of the screen, to feel as though they are flying. An onlooker might catch a glimpse of this person positioned so that the projecti

  • Monument:Attraction
    2009
    Digital C Print
    Two figures sit, one posing with a monument, the other posing in attraction. The space between two bodies creates form. When intention is projected from one source, but missed by another, can it be

  • Hang On
    2010
    Digital C Print
    On the other side of the world, I cling to what I know. Throughout my travels I have found that a sense of loneliness can come even in the most populated areas. Here in Tripoli, an abandoned site f

  • Follow Me
    2009
    Digital C Print
    An invitation to my community. After moving every year or two since I was seven years old, I had finally found community where I belonged. But soon after, I was asked to move across the world. The

  • Hover
    2010
    Digital C Print
    Flying inside. My living room is my studio; a place for conversation, imagination, transportation. The couch is a landing pad. Cotton from the pillows become the clouds of the dream I had last nigh

  • Absentee Affection
    2009
    Post card
    Postcards sent through the U.S. mail requesting surrogate affection. With the habit of moving every couple of years, I find my community to be spread throughout the world. California, Oregon, Color

  • You and Me
    2008
    Post card
    Almost all of my work could be titled “You and Me”. This was the first one. In preparation for my piece, will you spoon with me?, I imagined having my viewer share my space. The position o

  • Collective Urn
    2009
    Ceramics
    Clay pot constructed in 2009 with coiling method; made in two parts, and joined with a communal slab. A vessel in which my husband or I will be stored in anticipation of the other. A wall divides t

  • Him and his moustache
    2009
    Digital C Print
    Public face, private face. There is always a side that is unseen; all facades cannot be seen simultaneously. We chose to present ourselves to the world in a certain light. With each choice that we
 








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