Rachel Siporin - Artist - Painter

 

Reviews & Commentary

 

 

"Deeply affexted by wartime, Siporin paints a collage of the 20th century horror."
(click here for image of the review)

 

Rick Guiness IT"S GUNS, ATROCITIES AND ACCOMPLICES IN BLINDFOLD SHOW - New Britain Herald 5/13/2008

“Rachel Siporin, a South Glastonbury painter graced with a vivid, creative imagination, a bright palette and keen draftsmanship, has lifted the lowly, much scorned tchotchke to artistic heights….

 

‘I don’t expect people to know what the paintings are about specifically. But I expect them to get some kind of feeling from them. I want the paintings to be emotionally charged’…”Feeling is central to her paintings, she says, particularly in recent years as her work has become increasingly autobiographical….

 

Like classic Swedish filmmaker Ingmar Bergman casting from his in-house troupe of actors, Siporin taps her ensemble of figurines. These are her characters in plots where anything goes, and just about anything…might well show up in some fanciful juxtaposition.

 

Tapping into her subconscious, Siporin paints the figures in an imaginary space, making changes in positions for her characters and the backdrop as she goes along. Typically, she’ll move one figure in and another out until the emerging scenario feels right intuitively…

 

In Siporin’s world you’re likely to see anachronistic classical temple architecture juxtaposed with city skylines.”

Owen McNally HER FIGURINE DREAMS - Sunday Life Hartford Courant 2/17/ 2002

This “ proto cinematic” narrative, to invoke Anne Hollander’s analysis of a tradition in Western art that extends from the Renaissance to the twentieth century and in which I would place Siporin’s work, offers us “sets of partial and puzzling view, just as life does” and thus engages the viewer’s anxiety and empathy, setting our psyches into motion. (1)  Even as we recognize the cast of characters as dolls and toys, we are, as in children’s play quickly caught up in the reality of this active fantasy.  Siporin’s command of the three-dimensional modelling of her figures, and their positioning in space invites a visceral response to the figures’ body language.   On the other hand the clarity of her hatching and distinct mark making signals the transparency of a “virtual reality.”    Siporin maintains an exquisite tension between staged narration and the psychological reality of fantasy.”

Elizabeth Langhorne
Associate Professor of Art
Central Connecticul State University

 

 From” Siporin/ Moving Pictures: The Spaces of Gotham City”
(1) anne Hollander, Moving Pictures,  Cambridge , Harvard University Press 1991,p.7