Mariana Garibay Raeke

Return to Artist List

 

 

 

 

 

What is my work about?

Objects communicate through color, form and texture. I am interested in the structural logic and processes that transform raw materials into objects with specific functions, meanings and values. My work reimagines commercial forms of production, storage/distribution and display while exploring the possibilities of synthetic materials. I am interested in molds, boxes and walls as organizing structures for other things. I play with the logic of these structures to create the conditions for unexpected material outcomes. My works are experiments with materials that produce noncompliant objects that in turn question and disrupt the systems to which they belong by refusing expected uses and meanings.

 

Artist Statement
Selected Thoughts on Important Matters
1
Form results from accumulation.  Each piece is a collection of marks, colors and materialsthat happens over time.  Molds accumulate marks made with the same tool with slightvariations depending on the speed and pressure of their making.  Boxes are a gatheringof parts that fit neatly into each other and can be taken apart.  The walls are assemblagesof porous planes that fold in and out to create partitions and re-configure space.  Everyaddition, be it a mark, a component or a side, creates a new set of relationships thatinfluences subsequent moves, and creates previously unimagined forms.  Each piece islike a never ending puzzle that begins to take shape as more parts or pieces are added,but the puzzle is never resolved or completed; it just stops growing.  These pieces are amoment of stillness that show the logic of accumulation and anticipate other possibilities.
2
Making begins with the desire to capture color, to give it a form that mimics and questions the logic of human-made things.  Choosing a color is what sets the process of making inmotion.  Color is the energy that brings these objects into being.  It is at the core and atthe surface.  I work with colored materials upon which color accumulates in thin layers thatsometimes get wiped away, leaving only traces.  Color awakens form and structure as itestablishes the relationships and hierarchies that give each piece its identity and attitude.It all starts with an irrational need of color that materializes into a solid object.
3
Texture is difference that needs to be felt.  Texture is the tactile character of a materialthat communicates independent of sight.  The idea of touch is implied and imagined inthese objects.  Texture is an indicator of difference at the structural level: difference offunction and use.  Each work is a collection of textures that addresses a personal need tobring differences together into illogical wholes that cannot be dismissed.  Contemporaryobjects are an amalgam of difference.  The materials and labor that become the objectswe consume embody the textures of complex global relationships and histories.
4.
Two kinds of inadequate molds. One kind lives in cardboard boxes, conceived as transient entities ready for travel and predisposed to be open and unfolded through someone’s touch.  These molds produce and hold unique artifacts of unknown purpose.  As soon asthey have casted a small set of objects they renounce their function and become anobsolete artifact slated for storage.  The second kind of mold is a mother mold thatdisintegrates as it yields a series of objects.  Each new cast is slightly different, a bit largerand more complicated than its predecessor.  These casts are hanging pieces that embrace reproduction and renounce uniformity.   
5
I make porous walls that reconfigure rooms and act as passages instead of limits, creating spaces for social interactions.  These walls are transient structures that can fold intothemselves or stretch out to transform space.  They come in different shapes and sizesproportional to a human.  They lean on existing walls or stand in front of them, sometimesblending in with the background, other times set apart. These newly constructed ruins thatresemble old-fashioned wood-and-plaster walls can stand on their own or join others tomake mazes. These wall-like structures are unassuming surfaces where things can hang without the burden of history and culture.
6
I am interested in substances that are malleable.  Materials that can be transformedthrough varied actions to produce distinct and sometimes unpredictable outcomes.  Mywork derives from situations that deploy the inherent nature of substances within looselyfixed parameters and constraints.  The results are often unexpected, determined by the procedures that I plot as much as by the character of the materials that I choose.

MARIANA GARIBAY RAEKE

b. Guadalajara, Mexico.
EDUCATION

2014 MFA, Yale University School of Art, Painting/Printmaking, New Haven, CT
2012 BFA, California College of the Arts, Painting/Visual Studies, San Francisco, CA
SELECTED EXHIBITIONS

2014
MX/NY, Front Art Space, New York, NY
Condensed Matter: Yale MFA Thesis Exhibition, Green Gallery, New Haven, CT
The Last Brucenial, Bruce High Quality Foundation, New York, NY

2012
Polychromes, Zughaus Gallery, Berkeley, CA (solo exhibition)
CCA Senior Exhibition, Tecoah and Thomas Bruce Galleries, San Francisco, CA

2011
Matter Matters, As Is Exhibitions, Oakland, CA

2010
Conceptual Landscapes, MACLA, San Jose, CA (two person exhibition)
Double Dip, Root Division, San Francisco, CA From the Matrix to Migration, Casa Hidalgo, Colotlán, Mexico

2009
Life Elsewhere, The Consulate General of Mexico, San Francisco, CA (solo exhibition)
On View, Kala Art Institute, Berkeley,CA

2008
Exonome, The Consulate General of Mexico, San Francisco, CA

2007
Ancient Roots Urban Journeys, Oakland Museum of California, Oakland, CA
Otherwise Nature, Swarm Gallery, Oakland, CA (three person exhibition)

2006
Advent of Summer, Vessel Gallery, Berkeley, CA

2005
Translations, de Young Art Center, San Francisco, CA (solo exhibition)
Corridor to Autumn, Vessel Gallery, Berkeley, CA
Thirty Something: Three decades of innovative work from the Kala Art Institute, SFMOMA Artist Gallery, San Francisco, CA

2004
Edición de Cuatro, Meridian Gallery, San Francisco, CA
Arte Latino, Sanchez Art Center, Pacifica, CA

2003
Impressions, 66balmy Gallery, San Francisco, CA

2002
Substance of Choice, Galeria de la Raza, San Francisco, CA
Taking it to the Edge, June Steingar Gallery, Oakland, CA A Dialogue on Paper, Mission Cultural Center, San Francisco,CA
AWARDS & RECOGNITIONS

2015 Smack Mellon Hot Picks 2015
2014 Yale University School of Art, Ralph Mayer Prize
2011 California College of the Arts President’s Scholarship
2007-2011 William & Gloria Brobeck Scholarship
2007-2011 California College of the Arts Faculty Honors Award
RESIDENCIES & FELLOWSHIPS

2004-2011 Kala Art Institute, Berkeley, CA
2005 Fine Arts Museums of San Francisco, San Francisco, CA
CURATORIAL
2010 Alluring Subversions, Oliver Art Center, California College of the Arts, Oakland, CA
2002 La Feria de los Muertos, Mission Cultural Center, San Francisco, CA