Archive of Old Website


From my older Alexrheault.com website of work up to 2005:

STATEMENT:
Making is for me a meditative, erotic, and personally altering experience. My exploration of and experimentation with ideas, materials, and events are often open to that which we might reject, deny, and overlook. My work is a committed engagement and reciprocity with others in order to experience life and blur boundaries.

It is essential to think for oneself, question society, and challenge human existence, while exposing oneself to failure and potential, to things unfamiliar and unexpected. My work is a leap off edgeless spaces, a way to simultaneously embrace and unhinge my own preferences, rigid tendencies, and judgementalism.

What is remarkable, is not whether I, as an artist, offend or bruise society’s ego, but rather, how that wounding heals.

drawings/paintings/murals
image here:

blossoms
watercolor and gouache on paper, 10″x20″, 2006

Fragment: I don’t know where you are I cannot see you as the light fades you are a remnant of your earlier being only a piece of you remains to be gathered or forgotten dropped or washed in a pocket

Image here:

sisters, sea cucumbers, and la lumaca
watercolor and gouache on paper, 10″x20″, 2006
Undoing: I am coming undone and in that undoing I am undoing and looking for edges of things and imagining the unimaginable thinking about the unthinkable

image here:
the elephant in the drawing
watercolor and gouache on paper, 10″x20″, 2006

Being: being is unsettling and our bodies are living and dying simultaneously something uncontrollable and that slippage leaves a verticle world in a pile of dust and leaks

image here:
plagued by pie and thoughts
watercolor and gouache on paper, 10″x20″, 2006

Fragment from a list:
the white cloth
marred by time
pluck a stray hair
scratch off some crusty brownish yellow substance
once, moist and edible
now, hardened and sickening
its presence flicked off
only a faint circle of color pale
reveals its
grip on tiny threads as
the poetry of a landfill

image here:
heads, toes, objects and musa in the outer limits
watercolor and gouache on paper, 10″x20″, 2006
Excess: risk everything and hold back nothing

Toeball drawing here:

I confront the excess of our existence and our ambivalence towards an uncontrollable body. I play with the impossible (further reading: Georges Bataille’s dictionary entry, “The Big Toe”).

image here: (swirling head)
impossible hair (with verso)
polyester, tracing paper, hair, acrylic, sharpie, gel medium, 12″x12″, 2005
Asking why or what or how about painting is never as compelling as the questions paint(ing) throws back at me. I leave and return to paint(ing).
show image of verso here:

image here:
untitled (little truths)
polyester over tracing paper, acrylic, gel medium, 8″x8″, 2005
Painting and writing are not limited, we are. Layers of meaning we attribute to words or images can never define or squash their secret lives and roamings.

image here:

image here: (hand on wall)
collect, stack and arrange, mural detail
acrylic on brown paper on dry wall, 8’x16′ wall, 2’x2′, 2004
I collect, stack, and arrange. I work with the language of collage (layering) and challenge definitions of drawing. I experience drawing as a process of continuous discontinuity, energy, and change.

This detail is from a collaborative two-mural project made with a group of Cambridge School students and Todd Bartel. I prepared a mural on their classroom wall to which they responded.
collect, stack and arrange (mural detail), acrylic on drywall, 8’x16′, 2004

image here:
Comics, diagrams, instructional images, and master drawings cohabit my work in a blur of raw instinct, excess, discomfort, and nausea.

image here:
underwear discontinuity, watermedia on paper, 11″x30″, 2004

Underwear is our daily fig leaf. We choose to protect society from our underbelly, where potential carnivals and disasters lurk. Our identity unravels when we conceal our selves.

image here:

disassemble

tracing paper, ink and medium on gessoed wood, 8″x8″, 2002
In the process of becoming, there is a necessary disassembling.

image here:
doing/undoing, acrylic on unprimed wood, 18″x18″, 2002

Explorations of rules of the tidy expose contradictions and hierarchies of preference. In being or doing, we come undone, unraveling gaps and failures.

image here:
underwear pathos, watermedia on paper, 11″x30″, 2004

The realms of the tidy and untidy are such a source of contention, of secrecy, of judgement, and reveal our foibles, our vulnerability, our habits and tendencies. Humor and violence blend.

image here:

tangled in birds’ feet (no. 1), watermedia on paper, 22″x30″, 2003

Birds unwittingly transport debris, particles and invisible bacteria tangled in their feet. Personal compost speaks volumes about our existence and longings.

image here:

untitled (little truths and discomfort)
polyester on tracing paper, gel medium and rubber tubing hung from plastic tubing, 13″ x 12′, 2005
I paste the words of one thinker with those of another, some known some anonymous, and stitch a common thread of little truths, which like small deaths, crush certainty, and locate discomfort: those gaps between pain and pleasure.

detail image here:

image here:
see through decomposition
personal detritus, cotton thread, vinyl, plastic tubing, 57″ x 90″, 2003
We need our excess to sustain a circuitous recirculation of evidence of existence–a chain of exchange–which allows us to continue in our continuous discontinuity. Our remnants and compost reveal much about us long after we become vapor.

image here:
li’l stinkie
vinyl adhesive, 12″x12″, 2004
Georges Bataille’s rigorous writings are a storm of human debris, which rendered my visual work impossible and invisible. The resulting “stinkie” splat embodies that infectious, parasitic voracity of the intellect I find so seductive.

image here/and detail:
apron rules, medium on muslin, dimensions variable, 2002

I discovered and transferred twenty-four hand-written rules my mother had dictated to me onto hand-stitched muslin aprons suspended from the ceiling. In series of performative acts and a survey, I confront strategies of authority, hierarchies of preference, and how we are defined by these.

image here/detail:
discomforter
medium on muslin, 61″x41″, 2005
Long Over-due: Book Renewal (MECA/Portland Public Library) brought over 150 people together last year to revitalize books, periodicals and more. I retyped words and redrew images poached from ten decirculated books recovered from the library. I stitched transfer-gel medium blisters onto cotton and batting creating a quilt (not long enough to cover one’s body) to expose existential discomfort and its shifting presence. Meanings are ephemeral, they blur and change depending on what we bring to them.

image here:
toeball, licorice marker, watercolor, muslin, polyfill, 10″x12″x12″, 2003

We miniaturize the adult world in subversive and cloyingly cute objects, which avoid and embrace extreme ideals.

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