Alright – so today we’ve got the honor of introducing you to Rebecca Rothfus Harrell. We think you’ll enjoy our conversation, we’ve shared it below.
Hi Rebecca, thanks for joining us today. Learning the craft is often a unique journey from every creative – we’d love to hear about your journey and if knowing what you know now, you would have done anything differently to speed up the learning process.
In addition to having some outstanding professors, I was fortunate enough to befriend several MFA students and Teaching Assistants in my first years at The School of The Art Institute of Chicago. It was these individuals who taught me to think beyond a specific material and, instead, think across all departments. They had already been through undergrad and understood the importance of creating a body of work and arriving at themes in one’s work. They also understood the limitations of a single artist’s knowledge-base. I knew my content areas well, but they encouraged me to reach out to peers or professionals who were well-versed in other content areas so as not to limit my larger vision. Keep in mind, this was the early 1990’s. Well before YouTube, Instagram, TikTok, etc. It’s much easier now to find instructions online or to research a material you might want to use. But I am glad I had to find things out before widespread internet access. I would say even with such easy access to information, it is still critical to find someone to talk to who knows the material/tool you are wanting to learn about or incorporate into a body of work. There is a reason they know what they are doing – likely lots of trial and error. That individual’s input is extremely valuable. Also, the opportunity to meet and discuss your project needs can lead to new discoveries on site when you are handling materials and talking through ideas with those who are masters in their field.
Ultimately, if I had an idea I was encouraged to think big and find others to help implement my vision (be it having 100 pencils manufactured, hiring a woodworker to create custom boxes to hold prints). In the end, this is what all artists do when creating work in their studio. No one expects each painting to be hand stretched and custom framed by the artist. Yes, if you are in Painting 1 and that is part of the class, of course hone that skill and know how it is done. But in the end, people are looking at the painting, not turning it around to see how you stretched the canvas. Don’t limit your ideas because you don’t know how to do something. There are people out there to advise and even help you make that vision a reality.
As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?
My ongoing fascination with infrastructure is rooted in the landscapes of the cities in which I’ve lived. Born and raised in Pittsburgh, PA, I was surrounded by the many bridges, railroads and mill towers around the city. My early adult years were spent riding the elevated trains of Chicago, spotting telephone lines and water towers perched on rooftops. In 2005 I moved to Austin, TX where the skies seemed bigger and I found myself captivated by the cell and radio towers standing like totems dotting the horizon. Though meant to be ignored I found them quite impressive and beautiful. Around 2013, my subject matter changed as I became fascinated with mineral structures. When enlarged, these microscopic natural formations seemed like engineered objects or futuristic landscapes. My current fixation are the remnants or “skeletons” of old signs. I find these structures visually and conceptually captivating. They have a history but no longer serve the intended purpose. These remnants often remain on site and in a decaying state for some time. They become something ignored, background noise in the landscape, both urban and rural.
Though my subject matter has changed over the years, the inquiry remains consistent: In what way are we meant to see these objects? What gives an object the sense that it is not of this world? What makes something simultaneously beautiful and foreign to its surroundings?
Is there something you think non-creatives will struggle to understand about your journey as a creative? Maybe you can provide some insight – you never know who might benefit from the enlightenment.
One thing I think about a lot at open studio events or at gallery openings are the conversations I have with visitors who don’t consider themselves creative or knowledgeable about art. They feel intimidated about the idea of buying art because they lack confidence. I have heard so many people label themselves as such with no reason. I suppose the art world can seem like the wild west to non-artists. A negative encounter with a gallery or artist can feel like two steps backwards (I say this from many personal experiences visiting galleries as an artist). My response to that is, “Follow your gut!”. If you like something… that’s wonderful; If you don’t… even better! Get to know what you gravitate towards. Maybe there is a subject matter theme, 3D vs 2D, a color palette or style you prefer. In an age of social media, brand names and #trending it is important to remember your art collection doesn’t have to (shouldn’t?) fit into that mold. I think everyone can have original works of art covering their walls and shelves and it doesn’t have to be daunting to make that happen.
First off, start small! I have so much work I have collected throughout the years, much of which I bought for $200 or less. I have a small salon style display by my dining table that is all pieces smaller than 8” on the longest side. It never fails, when someone comes over they strike up a conversation about a piece on that wall. I love it because it shows a cross section of the type of art I am drawn to. Honestly, most of my walls are salon style so I can fit as much art as possible.
Another thing I would say is “art” has lots of different forms. I kept a bunch of screen-printed posters for shows at the Empty Bottle from my Chicago days and they are amazing works of art. I have a piece of Amate bark paper from Mexico that I put in an IKEA frame. I have my husband’s grandmother’s embroidery of her home state of North Carolina hanging up. Things can be framed, rearranged, replaced as you find something new.
I hate to hear when people have bad experiences with purchasing or even just engaging with an artist. I encourage people to keep trying and ask questions. If someone makes you feel like you don’t belong in a gallery, find another one. If you love the story an artist tells you about a piece they made, embrace it. The fun of buying original art is the connection with the artist (or gallery), the joy you get when you see it on the wall in your home and the tales you can tell others about how/where you acquired this unique work of art. And once you collect from an artist, it’s a fun adventure to see how they evolve over time. Who knows you make love a piece down the road from a different series!
For you, what’s the most rewarding aspect of being a creative?
It’s always rewarding to have a show and share a new body of work with an audience, but that isn’t the day-to-day reward that sustains my practice. One of my favorite things is when I am listening to an audiobook and I am completely in the “flow”, just making. I look up and realize how much time has passed and I’m surprised because it feels like no time. It’s in those moments I am reminded of why I do this thing called “making art”. I liken it to weeding (but way more enjoyable). You are doing these little actions on repeat but when you stand up and look at the flower beds two hours later you can see what you have accomplished. I definitely think a good audiobook or podcast helps in both scenarios.
I also like to work on a few pieces at a time. I do all of the line work, then add graphite and colors in phases. It is very rewarding to see a group of works evolve together. I start to see themes or commonalities arise. I can also tell where my inspirations are coming through. It’s easier for me to see what’s working and feel like I’m making progress when I have multiple works in progress. I’ve found working one piece at a time feels less like I’m making progress and more of an isolated experience.
Contact Info:
- Website: rebeccarothfus.com
- Instagram: @RRothfusArt
Image Credits
NA (artist photograph)