ANYTHING YOU CAN IMAGINE IS REAL
by Rebecca Levine Quigley
Rebecca Levine Quigley
Technique and Concept
Felting is an ancient an ancient technique, predating weaving by millennia, although it uses many of the same raw materials. Working in felt is a natural progression from my initial training as a weaver. Using needle and thread is a part of textile history. Mark-making is part of the evolution of art and indeed of human communication. Using a needle and thread to make marks on cloth is part of that vocabulary. Related to these works in fiber, weaving, felting, and sewing, is the use of fiber to make paper. Civilizations are often judged in history as those who made paper to record their cultural milestones. By using this family of techniques, I can speak to the concept of time and of place, and to the ephemeral, personal, evolving, reaction to the world that I see around me.
I was educated as a weaver. My eye was drawn to the tactile, colorful nature of my surroundings.
Later I trained as an architect. Tempering my vision with the norms and the utility required was a challenge. But I had been learning new techniques, exploring materials, and combining mediums all along.
Now I have begun producing a new body of work, one informed by the same influences as before, but now I am able to express my visions much more freely.
This vision is new and old at the same time, driven by delight in the color and texture that has always been evocative to me, but in a way that is more playful and less constrained by boundaries than ever.
I work with clear vision, and now, free of boundaries, I am drawn again to fiber, to wool, to silk, to bamboo and to the ancient practice of felt making, as well as the equally ancient activity of papermaking. Layering, stitching, combining texture, color and mark making with a freedom that is only restricted by the physics of making an object, is a celebration.
Giving my work titles that are to some degree enigmatic is a delight. It translates into a description of her view of the world, of her daily life and of the stories it can tell, colored by the viewer’s own vision and experience.
Rebecca comes from a creative family. Her father had a BA from the Ruskin School of Drawing (Oxford University). Her mother wrote poetry. Rebecca’s life was spent in the UK, Nantucket, Albuquerque, on Massachusetts’ South Shore and Sarasota.
Since beginning her artist practice in 2018, she has shown her work in locally in Sarasota, St Pete, and Bradenton. Her submission for the National Small Work 2020 Collage Society of America was a cash prize winner. She is a member of Artists in Cellophane since 2018, her work has been chosen by: the MFA, Boston, the National Portrait Gallery, Washington, DC, The Crocker Art Museum, Sacramento, CA and the Halsey Institute of Contemporary Art, Charleston, SC as well as numerous ARTOMAT machines in hotels, museums, and other venues from Las Vegas to New York City.