Before I begin the physical process, I distill an idea down to its basic aesthetic components. This establishes mental clarity, and enables me to capture a sense of immediacy in the work. I articulate the visual information with a straightforward systematic style, so the steps involved in making the work are apparent to the viewer. The intention is to reveal the structure of the act, and show how beauty can be achieved through the simplest of means.
My visual language often consists of lines, dots, text, and geometric shapes. I am interested in how minimal, repetitious, hand-made marks reveal aspects of time, energy, and space. Drawing allows the hand to perform like a sensor, and a point of convergence between these interacting forces. The resulting image is a visual imprint of the actual activity. It also represents a micro/macro relationship between the visual details and their aggregate formations.
In a sense, each piece is a mini experiment, consisting of a specific range of operating parameters, which produce a unique set of characteristics. The goal is to transmute and transcribe a multi-dimensional spatiotemporal experience onto a 2-dimensional surface. If successfully made, the visual information expressed holds within it the culminating effect of a synthesis of otherwise invisible phenomena.
"Excerpts from the History of Clay Book"
"Fibonacci Numbers Stacked 0-300"
Tricia Rumbolz was born in 1968 at the naval base in Portsmouth, Va. and she grew up in the steel mill town of Sterling, IL. She lives and works in Chicago, IL, where her art has been exhibited in Caro d'Offay Gallery, David Wienberg Gallery, and Las Manos Gallery.
