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<channel>
	<title>Rachel DeBoard Studio</title>
	<link>https://racheldeboard.cargo.site</link>
	<description>Rachel DeBoard Studio</description>
	<pubDate>Sun, 11 Apr 2021 01:15:39 +0000</pubDate>
	<generator>https://racheldeboard.cargo.site</generator>
	<language>en</language>
	
		
	<item>
		<title>Home</title>
				
		<link>https://racheldeboard.cargo.site/Home</link>

		<pubDate>Sun, 11 Apr 2021 01:15:37 +0000</pubDate>

		<dc:creator>Rachel DeBoard Studio</dc:creator>

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	<item>
		<title>Cloister</title>
				
		<link>https://racheldeboard.cargo.site/Cloister</link>

		<pubDate>Mon, 05 Apr 2021 23:21:12 +0000</pubDate>

		<dc:creator>Rachel DeBoard Studio</dc:creator>

		<guid isPermaLink="true">https://racheldeboard.cargo.site/Cloister</guid>

		<description>Cloister May 2021Talking Dolls Detroit

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“Cloister” is a product of my research into medieval garden enclosures in chorus with liminality. Liminality refers to a threshold, passageway or tunnel from one space to the next. It also refers to communal transitions in life–– a birth, marriage or death––an event that will change your daily existence, and throw your routine in turmoil. My work explores the disruption for which there is no planned ritual. I wanted to articulate a space for traumatic renewal, prompted during times of need, without a designated communal event. 

I use the cloistered monastic garden and natural spaces as a visual framework because of its history as both a transitional space and a haven for the community. 12th century monastic institutions served as protectors of the community. The monks’ gardens provided food, medicine and safety. The monks saw their role in society as doctors of both the mind and the body; to heal one you must also heal the other. 

Meditating often on Soloman’s “Love Garden” and the “Paradise Garden,” the monastery gardens were built as intentional spiritual and healing experiences. As a point of debate, St. Augustine believed the Paradise Garden was a shifting space, dependent on your own time, place and needs. I liked the idea of a place or experience that could materialize as needed and then slip back into euphemistic myth.
 
I used my research as a starting point, but I invite the viewer to bring their own interpretations and experiences to the work. The paintings include moments of the forest, as a secluded and unknown expanse. They have animals which are often instigators of chaos, surprise and blunt honesty in my work, but also offer creaturely reassurance. The work also contains elements of the cloistered gardens, borrowing the ideas of safety and an out-of-body experience from the monks. The pockets of black and white charcoal give a jarring sense of comfortless change, unavoidable, unknowable, a fog. They are a ripping, a trauma, a painful way through.

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	<item>
		<title>Domestication</title>
				
		<link>https://racheldeboard.cargo.site/Domestication</link>

		<pubDate>Sun, 11 Apr 2021 01:15:37 +0000</pubDate>

		<dc:creator>Rachel DeBoard Studio</dc:creator>

		<guid isPermaLink="true">https://racheldeboard.cargo.site/Domestication</guid>

		<description>
	Notes on Domestication





















The
domesticated and the wild animal continue to be symbols in my work, walking
the line between an independent outsider and a complacent performer. They
examine the boundaries and limitations of the systems set in place for them,
examine their level of control and weigh their options up against their
survival instincts. I sometimes use them as instigators of chaos in my work. The animal
becomes more present as a symbol of blunt honesty and desire.








	&#60;img width="1200" height="1318" width_o="1200" height_o="1318" data-src="https://freight.cargo.site/t/original/i/7bd24b0e79cc3f33c2e0db17aee3271b06a0e30d997bfd1991a3fe8b16a7a7c3/DeBoard__17.jpg" data-mid="104869166" border="0"  src="https://freight.cargo.site/w/1000/i/7bd24b0e79cc3f33c2e0db17aee3271b06a0e30d997bfd1991a3fe8b16a7a7c3/DeBoard__17.jpg" /&#62;
Series: Domestication
Materials: Oil, Acrylic, Charcoal, Pastels, Ribbon, Carboard, Pen and Ink on Canvas




&#60;img width="1200" height="1318" width_o="1200" height_o="1318" data-src="https://freight.cargo.site/t/original/i/7bd24b0e79cc3f33c2e0db17aee3271b06a0e30d997bfd1991a3fe8b16a7a7c3/DeBoard__17.jpg" data-mid="104869166" border="0"  src="https://freight.cargo.site/w/1000/i/7bd24b0e79cc3f33c2e0db17aee3271b06a0e30d997bfd1991a3fe8b16a7a7c3/DeBoard__17.jpg" /&#62;
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	<item>
		<title>Modern Liminality</title>
				
		<link>https://racheldeboard.cargo.site/Modern-Liminality</link>

		<pubDate>Sun, 11 Apr 2021 01:15:38 +0000</pubDate>

		<dc:creator>Rachel DeBoard Studio</dc:creator>

		<guid isPermaLink="true">https://racheldeboard.cargo.site/Modern-Liminality</guid>

		<description>
	Modern 
Liminality
Liminality refers to a threshold, passageway or tunnel from one space to the next. It also refers to transitions in life–– a birth, marriage or death––an event that will change your daily existence, and throw your routine in turmoil.

Every society has rituals to help community members go through these transitions. There are frameworks in place that remind us (as participants of funerals and weddings), that others have gone through these transitions before us, and others will go through these transitions after us, and we are part of a larger structure called society that will continue on much the same.

	
&#60;img width="1200" height="1200" width_o="1200" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f3e8ab015bdc4c05cc11462a5ca337c65465722c89cd49023a671ab83955dd05/DeBoard__30.jpg" data-mid="104869251" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/f3e8ab015bdc4c05cc11462a5ca337c65465722c89cd49023a671ab83955dd05/DeBoard__30.jpg" /&#62;

Title: A Hui Hou
Materials: Acrylic, tracing paper, pen and ink on canvas





“Community is something for which we have no name or concept, something that issued at once from a much more extensive communication than that of mere social bond...and from much more piercing and dispersed segmentation of this same bond, often involving much harsher effects (solitude, rejection, admonition, helplessness) than what we expect from a communitarian minimum in the social bond.” -Jean-luc Nancy

“Death is the true community of mortal beings, their impossible community” -Jean-luc Nancy

&#60;img width="2401" height="1200" width_o="2401" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ea9536c82bffadbfff6818abf6dd08aa6dcc90afdd0abc7ac30344be61b15b06/DeBoard__29.jpg" data-mid="104869948" border="0"  src="https://freight.cargo.site/w/1000/i/ea9536c82bffadbfff6818abf6dd08aa6dcc90afdd0abc7ac30344be61b15b06/DeBoard__29.jpg" /&#62;Title: Three
Materials: Acrylic, oil and pastel on canvas



&#60;img width="1530" height="1200" width_o="1530" height_o="1200" data-src="https://freight.cargo.site/t/original/i/9a760293c9be38951fe3f073e513d2dd9d3f4a464126d4144f0c2ed2a4687e48/DeBoard__25.jpg" data-mid="107534962" border="0"  src="https://freight.cargo.site/w/1000/i/9a760293c9be38951fe3f073e513d2dd9d3f4a464126d4144f0c2ed2a4687e48/DeBoard__25.jpg" /&#62;
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	<item>
		<title>The Creaturely</title>
				
		<link>https://racheldeboard.cargo.site/The-Creaturely</link>

		<pubDate>Sun, 11 Apr 2021 01:15:39 +0000</pubDate>

		<dc:creator>Rachel DeBoard Studio</dc:creator>

		<guid isPermaLink="true">https://racheldeboard.cargo.site/The-Creaturely</guid>

		<description>The Creaturely




	&#60;img width="1200" height="1207" width_o="1200" height_o="1207" data-src="https://freight.cargo.site/t/original/i/48720b3ad0299a0f865f8a0fc63cce963a353013821d4038904e8e609739e20b/DeBoard__01.jpg" data-mid="104870127" border="0"  src="https://freight.cargo.site/w/1000/i/48720b3ad0299a0f865f8a0fc63cce963a353013821d4038904e8e609739e20b/DeBoard__01.jpg" /&#62;
Materials: Acrylic and binder on canvas&#60;img width="1200" height="2342" width_o="1200" height_o="2342" data-src="https://freight.cargo.site/t/original/i/e6696a7e712d07cf805399d5a64719f177430c35b8e66fbe8911d57a13c0dff6/DeBoard__14.jpg" data-mid="104870325" border="0"  src="https://freight.cargo.site/w/1000/i/e6696a7e712d07cf805399d5a64719f177430c35b8e66fbe8911d57a13c0dff6/DeBoard__14.jpg" /&#62;


	&#60;img width="1206" height="1200" width_o="1206" height_o="1200" data-src="https://freight.cargo.site/t/original/i/fa9149cccfce24e437fdb79f69b65fa87457d506b9dae3bd783aead1701c97fe/DeBoard__03.jpg" data-mid="104870130" border="0"  src="https://freight.cargo.site/w/1000/i/fa9149cccfce24e437fdb79f69b65fa87457d506b9dae3bd783aead1701c97fe/DeBoard__03.jpg" /&#62;
Materials: Acrylic and binder on canvas
Animals in my work
The animals and contured monsters or creatures run through all of my work, though some bodies of work focus more explicitly on creatures than others.
My incorporation of the wild animal from a critical
perspective developed as I researched Danish artist and CoBra founder, Asger
Jorn. Jorn used monsters and creatures to examine human nature after World War
II. At the time, I was working with domesticated animals as a metaphor for
social conformity and structural violence in the social sphere. I was attracted
to the creaturely in Asger Jorn’s work. Much like Carl Jung, Jorn used animal
archetypes. He championed the snake, a mythical sign of evil, as his symbol of
revolution and communal power. 










	Animals in the dinner party series.

















I often use animals as instigators of chaos in my
work. The animal becomes more present as a symbol of blunt honesty and desire.
















Animals are useful as archetypes, both
referencing cultural ideas and mythological representations. They also hold specific roles in our daily lifes, often reflecting our own discontents.





 
	
&#60;img width="1200" height="1763" width_o="1200" height_o="1763" data-src="https://freight.cargo.site/t/original/i/15b06c9eaf71acc3093ba980699e8156f5a6db4536be030747b75f8c364f0cf5/DeBoard__08.jpg" data-mid="104870377" border="0"  src="https://freight.cargo.site/w/1000/i/15b06c9eaf71acc3093ba980699e8156f5a6db4536be030747b75f8c364f0cf5/DeBoard__08.jpg" /&#62;



Title: Mini-Quiche
Materials: Acrylic, oil, charcoal and pastel on canvas




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		<title>Awkward Dinner Parties</title>
				
		<link>https://racheldeboard.cargo.site/Awkward-Dinner-Parties-1</link>

		<pubDate>Sun, 11 Apr 2021 01:15:39 +0000</pubDate>

		<dc:creator>Rachel DeBoard Studio</dc:creator>

		<guid isPermaLink="true">https://racheldeboard.cargo.site/Awkward-Dinner-Parties-1</guid>

		<description>
	
	Dinner Party Series



	Awkward Dinner Parties

 The dinner party is any personal space where social behavior is self-monitored.It joins familiarity with cold performance. The Uncanny seems to surface, as home-like qualities –the layout of a room, familiar faces, the pace of an ideal evening –differ in small and unexpected ways, coming in and out of focus, and at times become subtly foreign and disorienting. I use a rhythm of both straight lines along with oddly cast shadows, the falling out of a floor or a veering doorway to show this feeling of unease. I find that using a bright ground begins with a&#38;nbsp;positive tone to the painting, that can slowly slip into a sickening feeling over time. 
Many of the paintings are in a dream-like state, reflecting both on the&#38;nbsp;myth of a flawless evening and the farce that is inevitably in play.&#38;nbsp;Within the&#38;nbsp;Dinner Party series, I sometimes use animals as instigators of chaos.&#38;nbsp;The animals&#38;nbsp;become more present as symbols of blunt honesty and desire. 
	&#60;img width="1200" height="1524" width_o="1200" height_o="1524" data-src="https://freight.cargo.site/t/original/i/9109afa765d56b8e4cd09462a4b55347c06937495686ed470d96cfb6fb2c93e7/DeBoard__23.jpg" data-mid="104873545" border="0"  src="https://freight.cargo.site/w/1000/i/9109afa765d56b8e4cd09462a4b55347c06937495686ed470d96cfb6fb2c93e7/DeBoard__23.jpg" /&#62;



	︎︎
	“We are all humiliated by the sudden discovery of a fact which has existed very comfortably and perhaps been staring at us in private while we have been making up our world entirely without it.”
–Middlemarch, George Eliot


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	My initial interest in social power dynamics came from E.M. Foster and George Elliot, along with other Victorian novelists who wrote about class divisions.
19th century European literature is noted for the realism of the novels, and for the introduction of psychological potraiture.&#38;nbsp; Authors begin to show an internal dialog in their characters, breaking away from traditional archetypes. They gave complex motivations to a character’s decisions, separating their hero out from society and minor characters surrounding them. A character may foster a tumuluous inner debate, all while observing a tea cup. 
Most of the literary realism writers focused on social strife and class warfare, describing in intricate detail the mundane and realistic surroundings of daily life. (George Eliot, E.M. Foster, Gustav Floubert)&#38;nbsp; These were the hardcore Realists.
Other Realism authors are in a a subset of Romantic Realism. While their work does not directly dable in the supernatural like the preceeding century’s Gothic novels, they borrow supernatural imagery in their metaphors and discriptions. They set their characters in beautiful tableaux, framing them out in pivital moments, and benefiting from their audience’s gothic education in ghosts, spirits and the uncanny. (Charles Dickens, Fyodor Dostoevsky)




	&#38;nbsp;“When the Devil goeth about like a roaring lion, he goeth about in a shape by which few but savages and hunters are attracted.&#38;nbsp; But, when he is trimmed, smoothed, and varnished, according to the mode; when he is aweary of vice, and aweary of virtue, used up as to brimstone, and used up as to bliss; then, whether he take to the serving out of red tape, or to the kindling of red fire, he is the very Devil.

So James Harthouse reclined in the window, indolently smoking, and reckoning up the steps he had taken on the road by which he happened to be travelling.  The end to which it led was before him, pretty plainly; but he troubled himself with no calculations about it.&#38;nbsp; What will be, will be.”&#38;nbsp;
–Hard Times by Charles Dickens





	“For his part, once he had taken his seat and lookedabout him, he noticed at once that those present bore no resemblance to the bogies Aglaya had terrified him with the day before, or to his subsequent nightmares. For the first time in his life he was seeing a small corner of what bore the dread name of ‘society’. Consequent upon certain particular intentions, ideas, and inclinations of his own, he had long wished to break into this charmed circle of people and so took a keen interest in his first impression of it. This first impression was positively entrancing. He had an immediate feeling, somehow, that all these people were simply born to be together; that the Yepanchins were not giving a party that evening at all, and there were no invited guests; they were all friends together, and he himself had long been their devoted associate and shared their opinions; he was now returning to them after a brief separation. The charming effect of elegant manners, simplicity, and seeming candour, verged on the magical. It could never have occurred to him that all this good nature and high-mindedness, all this wit and lofty&#38;nbsp;sense of dignity, might only be a superb artistic veneer. The majority of the guests, their&#38;nbsp;impressive outward appearance notwithstanding, comprised rather shallow individuals, who were&#38;nbsp;too complacent to realize that many of their good points were simply a veneer, something they were not responsible for, since it had been acquired unconsciously through inheritance.”
–The Idiot by Fyodor Dostoevsy



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