Paris Texas #2
Rachel Weiswasser
Oil paint, oil pastel, glue, fabric paper on cotton
60” x 48”
2024
"Paris, Texas" is my deconstruction of the 1984 film's formal elements. My love for film and art history informs this series, reimagining the female lead by stripping away her formal elements. By doing so, I portray her as she was in the film: one-dimensional.
I have found the histories of liminalism and pointillism useful in grounding my speculative style, deconstructing a film’s formal elements as specs of color. This project is grounded in pleasure and aesthetics while appreciating what is typically overlooked in cinema. The unnatural colors and blinding pinks are reminiscent of LED lights and midnight trysts.
Paris, Texas #2 compliments #1 and can be viewed as a diptych. The man gazing at the viewer contradicts the uncertain gaze of the woman in #1, and her unfinished back in #2 is a dichotomy to the fleshed-out portrayal of the man.
Rachel Weiswasser
Oil paint, oil pastel, glue, fabric paper on cotton
60” x 48”
2024
"Paris, Texas" is my deconstruction of the 1984 film's formal elements. My love for film and art history informs this series, reimagining the female lead by stripping away her formal elements. By doing so, I portray her as she was in the film: one-dimensional.
I have found the histories of liminalism and pointillism useful in grounding my speculative style, deconstructing a film’s formal elements as specs of color. This project is grounded in pleasure and aesthetics while appreciating what is typically overlooked in cinema. The unnatural colors and blinding pinks are reminiscent of LED lights and midnight trysts.
Paris, Texas #2 compliments #1 and can be viewed as a diptych. The man gazing at the viewer contradicts the uncertain gaze of the woman in #1, and her unfinished back in #2 is a dichotomy to the fleshed-out portrayal of the man.
Rachel Weiswasser
Oil paint, oil pastel, glue, fabric paper on cotton
60” x 48”
2024
"Paris, Texas" is my deconstruction of the 1984 film's formal elements. My love for film and art history informs this series, reimagining the female lead by stripping away her formal elements. By doing so, I portray her as she was in the film: one-dimensional.
I have found the histories of liminalism and pointillism useful in grounding my speculative style, deconstructing a film’s formal elements as specs of color. This project is grounded in pleasure and aesthetics while appreciating what is typically overlooked in cinema. The unnatural colors and blinding pinks are reminiscent of LED lights and midnight trysts.
Paris, Texas #2 compliments #1 and can be viewed as a diptych. The man gazing at the viewer contradicts the uncertain gaze of the woman in #1, and her unfinished back in #2 is a dichotomy to the fleshed-out portrayal of the man.