In Conversation Exposure 11 at Parasol Unit
13 September, by Elizabeth Homersham, Jotta.com
EH: How did paper pulp become the medium in your work?
RT: I experimented for a while but paper pulp felt like the right material for conveying the interests and notions at the heart of my work. As the pulp is devoid of colour and invites textural manipulation, all the focus can be on form and surface.
EH: They look so light too, endowed with a kind of buoyancy. For me that compliments your attempt to make viewers navigate the space differently, more 'buoyantly', perhaps. Has dance has influenced you at all?
RT: I really like that idea, not directly dance but definitely movement; the work becomes a form of choreography, asking the viewer to explore in a particular way.
EH: Until now your viewers have explored the gallery space. Will you one day ask them to step outside?
RT: I enjoy gallery installations at the moment but my next move might involve creating site-specific works responding to external architecture. Iâ€™m really interested, for example, in the architectural aspect of Monika Sosnowska, Richard Wilson and Rachel Whitereadâ€™s work.
EH: But you also evoke other worldliness and astronomy.
RT: Right, I have a particular interest in the moon! I love the mystery that surrounds it.
EH: In those terms your sculptures appear more abstractly haunting than Whitereadâ€™s.
RT: Yes, but what I like about Whitereadâ€™s work is how she reveals things about space. In my own work I want to encourage the viewer to explore a given space personally.
A Knitted Blue Tit
September 2011, Stylist Magazine
Rebecca explores the relationship we share with the space around us, with particular interest in disrupting it. She creates large astronomical forms from pulped paper that are wedged, balanced, or awkwardly positioned within the architecture, playing with the idea of defying gravity or succumbing to it.