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| Airyka Rockefeller | |
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Born 1979 in Seattle, Washington. |
| About the Artist | |
Airyka Rockefeller grew up the youngest of three daughters on a small, forested island in the Puget Sound. |
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| Click to enlarge images (if larger image has been loaded) |
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The Visitor, from "Self-Portraits To Disappear" New York
1999 |
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| Self-portraits to Disappear were made within slumbering, exurban, communal terrains which beckoned Houdini-like transgressions of disappearance, escape, and reappearance.
However futile and fantastical, body doubling for solitary performances before the camera makes way for gestures compelled not by day, within the stiflingly regulated structures of architecture, but by night, the body evoked under cast of darkness in abandoned, baroque landscapes. Here, amidst fast, futuristic colors, slow and yielding time-zones and past and present avatars, the body morphs in the constantly changing light.
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Untitled, from "Nine Skins"
2005 |
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| Even in the small increment of day to day I still believe in the myth I learned when I was younger and softer, of nine possible lives. It seems that these nine chances happen not on the grand scale of reincarnated existence, but in the mundane, particular inventions and transformations of day to day, in the transformative in-between realms of dress and undress.
There is something luscious and a bit terrible in removing garments: a moment of dislocation occurs when these temporary skins crumple and lay as independent, still warm shapes on the floor, deflating without interiority. Nine skins is a series derived from this ordinary ritual of nightly undress.
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Untitled, from "Campfire" Lithuania
2005 |
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| Exploring humble waterways throughout Lithuania I was often moved by the quiet and curious residues of human longing left within ambiguous landscapes of leisure. Even at the periphery of a highway, hospital or waste-dump, campfire remnants, like burial mounds or prehistoric shrines, marked the proximity of water and its related residues of communion, pleasure and ceremony.
It seemed that the campfires were miniature vestiges out of timelines at once contemporary and past. They spoke to a shared and quiet longing for life—playful, intimate, communal, and celebratory— within neglected, overgrown terrains. Here, in the physical remnants of solidarity around a fire, I am drawn to the messy muddle of fading distinctions between the secretive and the social; between informal play and formal rite.
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Territory Window #3, from "Other Climates"
2004 |
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| For the past several years I have been living at San Francisco’s eastern edge, amidst a surreal industrial landscape strewn with highway overpasses, migrating homeless wanderers, the oldest port of the city and a string of antiquated factories. “Other Climates” is a series of photographs evoking the transient populations which pass through but never stay here, as I seem to. |
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The House Cloaked in White, from "Suggestion Territories/Derives"
2003 |
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| Derives/Suggestion Territories is a series of photographs observing quieted landscapes resonant with the residues of previous inhabitants. I am moved by unpopulated landscapes which reveal resonant gestures of previous inhabitants. The settings are found rather than staged, yet the places seem to perform themselves as dramatic backdrops to potential narratives. |
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The Rest of the River, from "The Borderland Boys" Lithuania
2005 |
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| Over the course of two summers I lived and photographed in Vilnius, Lithuania, following a small set of streams, offshoots from the Neres River. In pursuit of these waterways I entered communally inhabited borderlands neither public nor private.
Even at the periphery of a highway, hospital, or waste-dump, to go barely into the forest was to enter another world gracefully, as if the previous had hardly existed. As much of Eastern Europe's forest is darkly weighted with brutal history, assassination and battle, it astonished me how these terrains have been, by the recent generation's casual inhabitation within them, so swiftly re-envisioned as spaces of pleasure, community and refuge.
The Borderland Boys project is an inquiry and celebration of such curiously synchronous and fragile contemporary communal lands. I'd like to explore such liminal realms before they are named, maintained or made monuments of, before their potential and likely inevitable disappearance under the flora. This series celebrates those who still find inventive ways to connect themselves with what's left of nature at the edge of the suburbs, at the border of the wild that we've dreamed of. |
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Between Countries or Organisms, from "Between Or Before"
2006 |
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| a series of self portraits still in the making...
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The Cloaked Rocks, from
2008 |
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| Rebelliously unaligned with the dominatingly touristic nature of travel, the photographic series Crooked Meadow is an intimate investigation of a medieval town in the Czech Republic in which I lived in 2006, a place which became increasingly mysterious as I grew more familiar with its terrain, particularly overlooked sites regarded by locals as least notable to outsiders.
I am often drawn to sites where the manifestations of the physical and the psychological overlap, and where distinctions between the recent and the residual, the theatrical and the happenstance merge.
My place-based photographic projects mingle the documentary with the fictional by way of the vestigial, concealed or disguised, as well as by here-say and warning. It is through these elusive routes that I seek resonant subjects, asserting poetic alliances between what at first strikes disparately. Rather than collecting photographs to explain history, I’d like to elicit latent presences that suggest the simultaneous manifestation and disappearance of history.
Part of what compels me to make photographs is the photographic medium’s implication that whatever is shown originates from what was singularly seen and ephemerally experienced. By making photographs that function—instead—as chameleons do, belonging not to fleeting visions but to simultaneous ones—not to fixed places but to resonate ones, I hope to question this assumption.
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The Prophet, from
2006-2008 |
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| Living for one autumn in a tiny South Bohemian town, amidst a simultaneously flourishing and devastating tourism (and the castle that started it all), brought to mind the sense that my few, hard-earned Czech companions, with sardonic and charming irony, conceived themselves as legendary protagonists within an unfolding play, rather like iconic lost boys of an old world. Their scene was cast with chameleons and charmers, changing face to please the outsiders and the locals in turn. My companions were revolutionaries and prophets, kicking their boots at the past and racing toward the unknown future with clarity and wonder, haunting the old town as if they fancied themselves the vital cast on a revolving stage, a new breed of pirates.
In this series of nine re-photographed images from the diary of a local Czech friend, I am contemplating what photographs can tell us, once they are removed from original contexts and catapulted into realms of skazka/legends, or skanzens/museums. In both situations, re-contextualization pronounces inevitable gaps between experience and representation, a story and it’s storyteller, between truth and fiction.
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| Education and biography | |
| EDUCATION: 2001 B.A. Cultural Studies, Film & Photography: Sarah Lawrence College, NY. 2000 Independent Studies: Phenomenology & Art: Friends World College, India 2005 M.F.A. New Media: California College of the Arts, San Francisco, CA. ARTIST RESIDENCIES: Photographic Center Northwest, August 2007, Seattle, WA Milkwood International, Autumn 2006, Cesky Krumlov, The Czech Republic Barli Institute for Rural Women, Spring 2001, Indore, India SELECTED PAST EXHIBITIONS: 2007 New Langton Arts Auction, New Langton Arts, San Francisco, CA The Notebook Show: A Selection from Artist’s Notebooks, Playspace Gallery, San Francisco, CA 2006 I know the pieces fit, Tartine, San Franicsco, CA OtherDANCE, Warehouse 1310, San Francisco, CA 10th Annual Art Show, The Lab, San Francisco, CA 2005 Post-postcard, Outpost for Contemporary Art, Los Angeles, CA At the edge of nowhere: everything, Thesis Exhibition, CCA, San Francisco, CA Shelter, Million Fishes Gallery, San Francisco, CA The Forest for the Trees, Counterpulse, San Francisco, CA 2004 Pin-Up Show, Playspace Gallery, San Francisco, CA We Are Not Alone, Secluded Alley Works, SAW Gallery, Seattle, WA 2003 New Photography, Photographic Center Northwest, Seattle, WA Devi/Detour, Dana's Showhouse Gallery, Bainbridge Island, WA 2002 Eyes to Hold, Hands to Slice, The Little Theatre Gallery, Seattle, WA Distinguishing Features (Screening), The Seattle Art Museum, Seattle, WA Streak Her Stark (Screening), Berlin Lesben Film Festival, Berlin, Germany Erin in the Bright (Screening), The Bellevue Art Museum Film & Video Festival, Bellevue Art Museum, Bellevue, WA Fairy Tales and Fables (Screening), Northwest Film Forum, Seattle, WA Four Eyes, Four Countries, Sideshow Gallery, Seattle, WA 2001 Community Works, Kingston Community Artworks, Kingston, WA Homegrown: Local Shorts (Screening), The Egyptian Theater, Seattle, WA 1999 It Flutters, It Wings, Four Angels, Seattle, WA Wind, Memory (Screening), The Little Theatre, Seattle, WA 1997 Scholarship Award Show, B.I. Arts and Humanities Gallery, Bainbridge Island, WA |
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| Future shows | |
| December 2007: And Who Are You? Work from Saatchi Online, Sara Tecchia Roma, New York, NY March 2008: Skazka/Legend, Silverman Gallery, San Francisco, CA April 2008: Crooked Meadow, Jack Fischer Gallery, San Francisco, CA |
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| Website: www.airykarockefeller.com | |
| IF YOU ARE INTERESTED IN CONTACTING THIS ARTIST, CLICK HERE | |
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