On the Journey to Self-Creation
“All art is like timekeeping.”
Meet the multi-talented Rachel Rossin from New York, whose practice spans from painting to programming. Read more …
“My childhood was pretty turbulent. You can see that in a lot of my drawings. There is an expression of violence. There was an aspect to making art that really saved my autonomy and my ability to keep myself safe. I do feel that art saved my life.”
Rachel Rossin started working with computers at the age of four and taught herself programming at five. Today, she reflects upon AI and developments beyond, for example, new ways of connecting humans to machines. At the same time, she sees art as one of the oldest and noblest expressions of being human.
“It’s making traces of our time here. It’s like timekeeping. It’s a record of the artist’s time. Especially painting and paintings with their expressionistic marks where you stand in the same place the artist stood. You are looking at a core sample of evidence of the trace the artist’s body made through time in space. I think we will have that as long as we exist. It’s just so precious and perfect.”
Rachel Rossin, formed by her readings of the Bible during childhood, sees life as an ongoing journey to self-creation, a type of distilling over and over again:
“I think that people that love life the most are the ones that are the most aware of death. It’s so brief. I want to be engaged and as present as I can. It feels like there is a spiritual calling to making art.”
Rachel Rossin (b. 1987, Florida, USA) is an internationally recognised artist whose multidisciplinary practice synthesises painting, computer programming, video, built electronics, sculpture, installation, and new media to create works that address the phenomenological effects of technology on daily life. She currently lives and works in New York City, New York, USA.
The New York Times has stated, “Ms. Rossin has achieved something, forging a connection between abstract painting and augmented perception that opens up a fourth dimension that existed only in theory for earlier painters.” She is widely considered a pioneer in Virtual and Mixed Realities for her innovative research. Rossin’s work has been screened at The Sundance Film Festival, and she was a recipient of a 2020 Prix Ars Electronica for developing new AI animation methods.
Rachel Rossin received a solo commission from both the KW Institute for Contemporary Art and the Whitney Museum of American Art for her large-scale installation: ‘THE MAW OF,’ shown at both institutions 2022-2023.
Her works are in the permanent collections of The Whitney Museum of American Art, Borusan Contemporary of Istanbul, The Norton Museum of Art, and The Zabludowicz Collection. She has been exhibited at prestigious institutions around the world, including the KW Institute for Contemporary Art, Museum of Contemporary Art Kiasma, HEK of Münchenstein Basel Switzerland, The Whitney Museum of American Art, The Hyundai Museum, The New Museum of New York City, K11 of Shanghai, Rhizome, The Frist Art Museum, GAMeC Museum of Bergamo, The Museum of Contemporary Art Detroit, The Cleveland Institute of Art, The Carnegie Museum of Art, The Akron Art Museum, and the Hyundai Museum.
Rossin has also lectured at Stäedelschule, the Massachusetts Institute of Technology (MIT), Stanford University, School of the Art Institute of Chicago, The New Museum, The National Arts Club, and Carnegie Mellon, among many others. Her work has been published in several notable publications, such as ‘Video/Art: The First Fifty Years’ published by Phaidon, ‘Chimeras, Inventory of Synthetic Cognition’ by the Onassis Foundation, and ‘Chaos and Awe: Painting for the 21st Century’ by MIT Press.
Rachel Rossin was interviewed by Marc-Christoph Wagner in June 2023. The interview took place in New York at the Whitney Museum of American Art and Rachel Rossin’s studio in Manhattan.
Camera: Sean Hanley
Edited by: Signe Boe Pedersen
Produced by: Marc-Christoph Wagner
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2023
Louisiana Channel is supported by Den A.P. Møllerske Støttefond, Ny Carlsbergfondet and C.L. Davids Fond og Samling.
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