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Rachel Mica Weiss
Brooklyn, NY
Neighborhood: Clinton Hill



ARTIST STATEMENT: Rachel Mica Weiss creates sculptures and installations that explore human boundaries ranging from the architectural to the topographical, from enveloping fabric structures to our own formless psychological constructs. Embedded with gravity and tension, her figurally-scaled sculptures combine textile languages with the density of stone to question the relative strength and fragility of her materials. Her series of Folds, cast concrete slabs scaled to her body at 66", fold like fabric and pose like human figures. In these works, Weiss pushes the limits of her materials in works that depict human boundaries.

Weiss's site-specific installations are inspired by weaving’s relationship to architecture and its historical use as a means to divide, control, and gender space. Employing processes she has developed from weaving, she creates fiber-based, architecturally-scaled installations to interrogate the relationship between textile and architecture. Using the innate characteristics of textiles—their appearance of fragility, porosity, and two-dimensionality, her structures harness and shape three-dimensional space. By interrupting natural passageways or highlighting existing architectural elements, Weiss draws attention to the constraints within our physical and psychological spaces, and in so doing, shifts them.

For example, the Topographies works use rope to “draw” the topographies surrounding their respective sites inside their buildings’ rectilinear atriums, blurring the boundaries between inside and outside. Her Arches series takes one of the most recognizable architectural elements--the romanesque classical arch--and inverts it to draw a curving, fiber plane. By evoking and iterating on architectural forms, those same elements are liberated, suggesting that the walls we build, which might otherwise constrict us, are passable.

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  • Reflected Topographies (Mount Rainier National Park)
    2018
    dyed nylon rope, stainless steel cable, aluminum channel
    20' x 22' x 36'
    This permanent, site-specific installation was commissioned for Airbnb Seattle and meticulously maps the topography of a portion of Mount Rainier National Park.

  • Reflected Topographies (Mount Rainier National Park)
    2018
    dyed nylon rope, stainless steel cable, aluminum channel
    20' x 22' x 36'
    After collaging together sections of topographical maps of the Park and mathematically converting those measurements into meticulously measured “warps,” I layered the panels to create a co

  • Inverted Arches in Gold
    2016
    dyed nylon rope, powder coated steel
    216" x 432" x 150"
    Inverted Arches in Gold performs an inversion of the classical architectural arch. Inspired by the act of weaving—by carefully measuring “warp” ropes as one would the warp threads of

  • Inverted Arches in Gold
    2016
    dyed nylon rope, powder coated steel
    216" x 432" x 150"
    performs an inversion of the classical architectural arch. Inspired by the act of weaving—by carefully measuring “warp” ropes as one would the warp threads of the loom—I create

  • Draped Arches in Gold
    2017
    dyed nylon rope, powder coated aluminum
    140" x 282" x 183"
    “Draped Arches in Gold” is a permanent installation for Brookfield's One Allen Center in Houston, TX. The installation performs an inversion of the classical architectural arch. Inspi

  • Draped Arches in Gold
    2017
    dyed nylon rope, powder coated aluminum
    140" x 282" x 183"
    “Draped Arches in Gold” is a permanent installation for Brookfield's One Allen Center in Houston, TX. The installation performs an inversion of the classical architectural arch. Inspi

  • Immanent Topographies
    2015-17
    dyed nylon rope, hand-bent powder coated aluminum, waxed linen, shrink wrap
    18' x 12'6" x 36'
    This site-specific installation was commissioned for the U.S. Embassy in Bishkek, Kyrgyzstan (State Department Art in Embassies Program). Trained as a weaver, I aimed to enmesh American and Kyrgyz tex

  • Immanent Topographies
    2015-17
    dyed nylon rope, hand-bent powder coated aluminum, waxed linen, shrink wrap
    18' x 12'6" x 36'
    The work is a meticulously translated and scaled rendering of a portion of the Tian Shan mountains that are visible through the embassy's windows. Celebrating Kyrgyzstan’s natural beauty, i

  • Plane of Immanence
    2014
    hand-strung tencel thread, maple
    168" x 120" x 60"
    Using the existing architecture of Fridman Gallery, New York--namely its two stately columns--Plane of Imminence creates an architectural barrier within the space, controlling participants' movem

  • Six-Planed Scaffolding
    2014
    hand-strung tencel thread, maple
    12' x 12' x 6'
    Hand-strung on site in a fashion mimicking the warping of a loom, this installation draws attention the architecture of Storefront Ten Eyck Gallery, Brooklyn, slicing the space's light and creati

  • Six-Planed Scaffolding
    2014
    hand-strung tencel thread, maple
    12' x 12' x 6'

  • Breaching
    2012-2017
    reclaimed heart pine beams, hand-dyed cotton rope, and hand-dyed tencel and bamboo yarns,
    127" x 222" x 72"
    Breaching is a diaphanous barrier that employs reclaimed beams from a deconstructed factory building in San Francisco's rapidly gentrifying Mission District. Looming forward and evoking a ship�

  • Unbounded
    2017
    raw obsidian, hand-dyed cotton rope, steel cable, plywood structure
    110" x 109" x 107"
    Created for sustainability-focused 1 Hotel, Brooklyn Bridge Park, this site-specific work echoes the industrial traditions of the surrounding Brooklyn neighborhoods, employing natural and reclaimed ma

  • Unbounded
    2017
    raw obsidian, hand-dyed cotton rope, steel cable, plywood structure
    110" x 109" x 107"
    Created for sustainability-focused 1 Hotel, Brooklyn Bridge Park, this site-specific work echoes the industrial traditions of the surrounding Brooklyn neighborhoods, employing natural and reclaimed ma

  • Fold V (Kneeler) & Wall
    2018
    cast concrete, raw obsidian, pigment; digital photo-collage on vinyl
    58" x 28" x 23" ; 117" x 85"
    Scaled to my height at 66", my series of cast concrete Folds bend like fabric and pose in human gestures. Leaning against the gallery wall and weighted down by a 100 pound obsidian boulder in its

  • The Exchange (Fold VI & Fold VII)
    2018
    cast concrete, marble, pigment
    70" x 60" x 17"
    Scaled to my height at 66", my series of cast concrete Folds bend like fabric and pose in human gestures. To create these forms, I use a urethane rubber mold of a granite slab for the overall for

  • The Exchange (Fold VI & Fold VII)
    2018
    cast concrete, marble, pigment
    70" x 60" x 17"
    Appearing voluminous from the front, the Folds in The Exchange reveal their flatness when viewed from the side. The marble resting atop the curled surface of Fold VI appears as a head for its body, a

  • Fold III
    2017
    cast concrete, pigment, powder coated steel
    25" x 70" x 31"
    In the earlier works in the Folds series, malleable, marble-like slabs pose on glassy, metallic plinths. Exhibiting the possibilities and softness of fabric, these rigid, concrete objects seem to defy

  • Fold III
    2017
    cast concrete, pigment, powder coated steel
    25" x 70" x 31"

  • Fold II
    2017
    cast concrete, pigment, powder coated steel
    40" x 36" x 14.5"
    In the earlier works in the Folds series, malleable, marble-like slabs pose on glassy, metallic plinths. Exhibiting the possibilities and softness of fabric, these rigid, concrete objects seem to defy
 








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