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O P T I C A L S C U L P T U R E S / P H O T O B A S E D W O R K

The aim in this work is to call attention to the process of vision itself, in which subject and observer are separate entities. In addition it collapses and challenges the boundaries between sculpture, language and photography.


The relation of observer to image is no longer to an object quantified in relation to a position in space, but rather to two dissimilar images whose position simulates the anatomical structure of the observer's body.
Jonathan Crary, Techniques of the Observer


These three dimensional constructed black and white photographs inside white optical viewing sculptures reflect a critical, humorous and questioning view of the world seen layered through the lens of a future memory of a fictional place. The viewer is prompted to "peek, "look" or "see" and thus becomes a participant, a performer and a challenger within the Cartesian structure of vision.

D R A W I N G S

ANAMORPHIC DRAWINGS

These 360° anamorphic drawings explore cultural and historical ideas surrounding the mirror and it’s reflection, vision and perception. Anamorphic Drawing has existed as a technique for 500 years - the first examples appear in Leonardo da Vinci's notebooks. These anamorphic drawings use a cylindrical shaped mirror placed at the center of the drawing, which ‘decodes’ the morphed image on the paper.

Rebecca Hackemann's anamorphs incorporate the cylindrical mirror as an intrinsic part of their meanings. Using fairy tales, psychoanalytical and historical references such as Alice in Through the Looking Glass (sequel to Alice in Wonderland), Jacques Lacan’s mirror phase and the myths of Narcissus, anamorphic ink drawings are created that have two sides. The viewer walks around the drawing and its cylindrical mirror to see another related drawing opposite on the same piece of paper. In the case of Alice in Wonderland, one side shows her going into the mirror, the other side her coming out of it – the mirror becomes a metaphor for ‘The Looking Glass House’ itself.


FLAT DRAWINGS
This ongoing body of work is based on extracted and manipulated graphics and texts from 1940's and 1950's photographic, fashion model guide books and educational materials. By re-presenting these dated materials, the inner rhetorical workings of industries, such as that of photography or etiquette are amusingly pointed to. They are about the construction of beauty – literally and the construction of meaning.
The drawings are in the same vain as the artists books (see Rebecca-h.net).

P U B L I C A R T

"Peek" by Rebecca Hackemann is a storefront installation of the artist's stereoscopes, which make certain participatory demands upon the passerby, namely to gaze into the twin eyeholes to see the art—and when facing the images contained inside, one is also called upon to read the messages that accompany them, putting together the separate elements of a complicated esthetic event that is both imagistic and linguistic at the same time. Each of the collages in her stereoscopes is part quandary and part parable.

Showgirl Rhetoric

2006
Drawing, Ink on paper
11" x 11" in.

How to be a Flapper

2006
Drawing, Ink on paper
11in x 11in.

Ironing Positions, no. I

2006
Drawing, ink on paper
29cm x 29cm

How to Hold a Rose

2006
Drawing, ink on paper
29cm x 29cm

She's a Beauty!

2004
Drawing, ink on paper
29cm x 29cm

The Black Gold

2007
Photograpahy
3" x 3" or variable

Miss Narcissist

2007
Anamorphic Drawing
40.64cm x 40.64cm x 12.7cm high

2007
Anamorphic Drawing
40.64cm x 40.64cm x 12.7cm high