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ABOUT 

 Rebecca Meredith’s art and illustration resides in private collections around the world, and diverse categories of publication including licensed work for TV Network HBO's Chance, Netflix's most downloaded television series 13 Reasons Why, Toms Shoes, as well as covers and interior illustration in literary fiction, scientific illustration, children’s fiction and nonfiction, brand identity logos and editorial journalism.  Recent honors include merit of honor and collection by the Triton Museum of Art and award of Top Ten Artists in the San Francisco Bay Area by ProArts Oakland. 

People in progress

Rebecca Meredith's art is about exploring a wide field of narrative possibility. The work supports ambiguity and deprives the viewer of concrete resolutions, thus making them detectives navigating a surreal landscape. The viewer is unsettled and captivated by the intense push and pull as they seek something that rings true to their own experience. From the frisson of disorientation, possibilities open.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Rebecca Meredith develops one to two dozen paintings simultaneously, creating individual works that, when displayed together, contribute distinct phrases to a dynamic whole.  There is both a quest for the essential in working out questions of the world as a whole, without claiming an apopdictic message.  Instead, she uses the technique of ellipsis, or the art of condensation, to describe the complexity of human existence in the modern world while remaining hypothethic, intuitive and playful. 

 

Like meditation, the work is a place in between places and draws you inwards, hovering poetically between abstraction and figuration.  Atmosphere and subject are mixed, fusing the found emotion with a poetic evocation of memory.  There are expansive abstract passages that recall both the physicality of abstract expressionism and the mystery of dreams. Personal experience is evoked as well as the emotive power of picture making.  As the painter's presence is emphasized through the construction of the work, and the viewer is enveloped in the emotional field associated with the work's creation, the viewer is urged toward an active relationship with the visual world. The paintings are an exploration of identity rather than a tool for telling a story, a personal journey rather than a technique for graphic documentation.

 

 

Viewers linger as textures and forms emerge, evoking a sense of place but often leading to inner spaces and otherworldly realms.  They invite close attention to the canvases' physical properties, the shifting chromatic planes, the layers that accrete and intersect.  There are interruptions and blockages, borders that divide, and foreground and background become one. Looking is revealed as a challenging, creative act that rearranges how reality is perceived, one that raises more questions than answers. 

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There is a lot left open-ended in these drawings, and there is a lot of white space so that you can discover potential ideas.
This purposefully laid trigger to the brain, provoking you to "fill in the blanks" in terms the closure principle in neuroscience.
Use PARADE as a place to try out ideas, experiment, and play.
Find a story, feel the shapes, let your hand do the thinking, and take a fresh page when you need a breath.
Submit your drawing to display in a group show at rebeccalmeredith@gmail.com

a creative workbook