Rebecca Mutz

What relationships exist between interiors and exteriors, security and vulnerability, private and public places, and obsessiveness and reflection? Semi-private, semi-public liminal spaces such as gardens, doorways, windows, bridges, and porches invite particular anticipations, but can memory and venues such as bars function in the same way? Can the inside be re-defined as outside or vise-versa? Can a public space feel safer than a house?

How do the environments we experience at a young age and our innate desire for connection affect the spaces we are drawn to as adults?What impact does time have on a way space holds impressions of the past or expectations about the future? What is the relationship between architecture and memory and how is it activated?

What epitomizes the idea of home? Is it mostly the physical structure, social interactions, or the association between them? The home is never as secure as it appears. Buildings burn, people die, relationships fall apart. The loss of these related concepts of death, relationships, and architecture is processed through similar ways.

What happens when we lose the comfort of our first home? Can we find contentment through liaisons made in these liminal spaces of bars, parks, or baseball stadiums? Is it the space that provides consolation or its potential for meeting new people through the particular interactions it permits? Perhaps security can be found in a cozy nook by a large window, allowing for external observations while providing protection that can recall our childhood, inducing a calming mixture of daydreaming, memory, and imagination. However, just as a house can be lost, so can other physical structures and new relations, our definition of home forever in a state of flux.

The work examines all of these ideas, bringing the viewer into a mnemonic environment where fragmented elements near completion before becoming abstract and void, unfinished areas and raw and intuitive mark-making remain equally essential.

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