Brätsch’s “marblings,” as she calls them, extend artistic concerns first witnessed in her Psychic series, a significant body of work which Brätsch first exhibited in the New Museum’s Triennial exhibition “Younger Than Jesus.” Brätsch uses painting to question the ways in which the body can be expressed psychologically, physically, and socially. Unstable Talismanic Rendering with gratitude to master marbler Dirk Lange was made in collaboration with marbling master Dirk Lange, and was created in a shallow bath of carrageenan using a water- and solvent-based marbling technique. Just as the photographs are excerpts of Unstable Talismanic Rendering with gratitude to master marbler Dirk Lange, the wooden ledges also refer to the painting’s frame, with its support clamps each individual handmade ledge directly corresponds to a specific section of the frame, and the clamps, impotent in this context, are retained to graphic visual effect. Presented alongside it are the C-prints, which depict the fifteen tiles or “faces” of each individual four-fold section of the original painting. The map can be either hung or presented as sculpture. The map work is a 1:1 scale print of the original painting, which Brätsch has reinterpreted with creases, folds, and an alternative method of reproduction to create a “guide” to the original work. Both the maps and the photographs, with their wooden ledges, take Brätsch’s painting Unstable Talismanic Rendering with gratitude to master marbler Dirk Lange (2016) as a point of departure. Castellano is proud to offer exclusive access to her exquisite work via The Mermaid and The Crow shop on sale inquiries, please email Talismanic Rendering_MAP is an artwork in two parts: a large-scale, 72 by 108-inch inkjet print in an edition of fifteen, printed on archival paper and folded by hand to create a giant map and a unique non-editioned C-print mounted on aluminum Dibond and displayed on a custom-designed and hand-painted wall-mounted wooden ledge.īrätsch’s oeuvre draws on continual processes of displacement, variation, and reproduction of her own works and art historical styles, strategically relying upon the economic production and distribution modes of the commoditized world. Every fragrance formulation is unique beeswax candles are poured by hand into their molds Dream Ambassadors are brought to life through needle felting tiny terrarium accents are carefully assembled and Nuno felted scarves are wet-scrubbed on a washboard beneath the loving hand of the artist herself. Her vision includes not only running The Mermaid and The Crow as a business, but coaching aspiring crafters in these lost arts, as well as creating each and every one of her items herself, by hand, without modern machinery. Castellano is actively engaged in the broader handicraft community, and is passionate about using her work to promote the gifts of other artisans. An average day in her workshop- nicknamed the Spare Oom- will have her tending a wide variety of anachronistic arts: from kettle dying wool, to working her spinning wheel in her bare feet, to swirling her pestle in her mortar while she hand presses her perfume oils.Įvery item offered by The Mermaid and The Crow is handcrafted in this old-world style setting from 100% local, sustainable sources. Castellano is an avid promoter and purveyor of historic handicrafts, and has dedicated her career to bringing these lost arts out of the museums and back into practice. The Mermaid and the Crow was founded in 2008 by Deborah Castellano.
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