Appetite (2000)
I created paintings using my hot rod lawn mower. Fiberglass inserts which fit between the blade and the frame of the machine captured bits of grass, paint and books as I ran over approximately 50 self help books and whoopie cushions filled with house paint. A video camera, which was secured to the side of the mower at ground level, recorded the event. A video was created in conjunction with this project.
This work was funded by Virginia Commonwealth University (Painting Department), Richmond, VA. The work was exhibited at the Virginia Commonwealth University Gallery, Richmond, VA in 2000, Second Street Gallery, Charlottesville, VA in 2008, and the Bronx Museum, Bronx, NY in 2001.
I created paintings using my hot rod lawn mower. Fiberglass inserts which fit between the blade and the frame of the machine captured bits of grass, paint and books as I ran over approximately 50 self help books and whoopie cushions filled with house paint. A video camera, which was secured to the side of the mower at ground level, recorded the event. A video was created in conjunction with this project.
This work was funded by Virginia Commonwealth University (Painting Department), Richmond, VA. The work was exhibited at the Virginia Commonwealth University Gallery, Richmond, VA in 2000, Second Street Gallery, Charlottesville, VA in 2008, and the Bronx Museum, Bronx, NY in 2001.
Retrogame Time Lapse Photographs (2001-2)
These photographs are long exposures taken while playing 1980’s video games that were popular during my childhood. These arcade games are all vector based, and battle themed. By documenting each complete game on one frame of film, I captured complex patterns not normally seen by the eye. Each arcade game generated a specific and distinct series of images. The result was a vast collection of unexpected kinematic maps marking my time in cyberspace.
Research for the photographs were shot from video game screens in various New York City arcades as I played the arcade games. The final works were captured in my studio in controlled environmental conditions via MAME emulator on my PC.
To create the image, I used a medium format camera. I opened the shutter when my ship appeared on the screen and closed the shutter when my ship was destroyed. The game frames and levels in between were captured on one single exposure. The exposures were developed and the negatives were scanned. In Photoshop, I removed the central image from its screen context that contained other information such as the title, power-ups, score and number of lives. This extracted central image was then printed to become the final work.
These photographs are long exposures taken while playing 1980’s video games that were popular during my childhood. These arcade games are all vector based, and battle themed. By documenting each complete game on one frame of film, I captured complex patterns not normally seen by the eye. Each arcade game generated a specific and distinct series of images. The result was a vast collection of unexpected kinematic maps marking my time in cyberspace.
Research for the photographs were shot from video game screens in various New York City arcades as I played the arcade games. The final works were captured in my studio in controlled environmental conditions via MAME emulator on my PC.
To create the image, I used a medium format camera. I opened the shutter when my ship appeared on the screen and closed the shutter when my ship was destroyed. The game frames and levels in between were captured on one single exposure. The exposures were developed and the negatives were scanned. In Photoshop, I removed the central image from its screen context that contained other information such as the title, power-ups, score and number of lives. This extracted central image was then printed to become the final work.
Subaru Rear Wiper Paintings (1999)
These works were created using the rear windsheild wiper of a Subaru Legacy wagon. Transmission fluid, engine treatment, motor oil and car wax were squirted out of the rear wiper onto paper cut to the size and shape of the Subaru's rear window. The motion of the rear wiper transformed these car fluids into delicate rainbows.
This series of work was created at The Skowhegan Residency , ME.
These works were created using the rear windsheild wiper of a Subaru Legacy wagon. Transmission fluid, engine treatment, motor oil and car wax were squirted out of the rear wiper onto paper cut to the size and shape of the Subaru's rear window. The motion of the rear wiper transformed these car fluids into delicate rainbows.
This series of work was created at The Skowhegan Residency , ME.
Royal Pine Tree (2003)
This work was included in "Yard", an exhibit at Socrates Sculpture Park in Long Island City, NY. It was constructed out of 5,500 Royal Pine car freshners, rebar and a 35 foot telephone pole.
Funding was provided by Socrates Sculpture Park, Long Island City, NY.
This work was included in "Yard", an exhibit at Socrates Sculpture Park in Long Island City, NY. It was constructed out of 5,500 Royal Pine car freshners, rebar and a 35 foot telephone pole.
Funding was provided by Socrates Sculpture Park, Long Island City, NY.
Evel Knievel Pinball Paintings (2001)
Entire games of pinball were recorded in oil paint while playing my 1979 Evel Knievel pinball machine. As I played, pinballs covered with oil paint moved across vellum fitted to the machine's playboard creating the paintings. For exhibition, the paintings were taken out of the pinball machine and mounted behind pinball machine glass. The video, "Balls of Steel" was exhibited with the paintings. Exhibition history for this work includes, "Rosemarie Fiore: Painting, Performance and Machines", Second Street Gallery, Charlottesville, VA (2008) and Midway Contemporary Art, Minneapolis, MN (2001). Creation of this work was partially funded by Midway Contemporary Art, Minneapolis, MN.
2016 Catalog Interview for "Skillshot, The Collaborative Art of Pinball", with Mark Porter, curator of Glass Curtain Gallery, Columbia College, Chicago
Entire games of pinball were recorded in oil paint while playing my 1979 Evel Knievel pinball machine. As I played, pinballs covered with oil paint moved across vellum fitted to the machine's playboard creating the paintings. For exhibition, the paintings were taken out of the pinball machine and mounted behind pinball machine glass. The video, "Balls of Steel" was exhibited with the paintings. Exhibition history for this work includes, "Rosemarie Fiore: Painting, Performance and Machines", Second Street Gallery, Charlottesville, VA (2008) and Midway Contemporary Art, Minneapolis, MN (2001). Creation of this work was partially funded by Midway Contemporary Art, Minneapolis, MN.
2016 Catalog Interview for "Skillshot, The Collaborative Art of Pinball", with Mark Porter, curator of Glass Curtain Gallery, Columbia College, Chicago
MTA Redbird Series, Scratchfitti Drypoint Prints (2002-3)
In collaboration with The Lower East Side Printshop in New York, I completed two variable editions of dry point prints using found graffiti-scratched New York City MTA subway windows as plates. The windows I printed were taken from the Number 33 and 36 cars (The World’s Fair or Redbird cars). Ink was rubbed into the layered scratches and printed onto light green paper cut to the shape of the windows. The prints were then collaged onto white paper reflecting the location of the windows on the original train. Each print created a unique image that is a visual record of time spent in transit in New York City.
Handmade paper for this project was created by the Dieu Donne Papermill. NY, NY.
This work was funded by the Lower East Side Printshop and their Special Editions Fellowship.
In collaboration with The Lower East Side Printshop in New York, I completed two variable editions of dry point prints using found graffiti-scratched New York City MTA subway windows as plates. The windows I printed were taken from the Number 33 and 36 cars (The World’s Fair or Redbird cars). Ink was rubbed into the layered scratches and printed onto light green paper cut to the shape of the windows. The prints were then collaged onto white paper reflecting the location of the windows on the original train. Each print created a unique image that is a visual record of time spent in transit in New York City.
Handmade paper for this project was created by the Dieu Donne Papermill. NY, NY.
This work was funded by the Lower East Side Printshop and their Special Editions Fellowship.
Gunflakes (2001-2)
These works are repeated circular rubbings on Japanese silk tissue paper of handguns found in pawn and guns shops in New Mexico. Installed as a group, they form an impressive virtual arsenal that appears as a blizzard from afar.
This series was created while in residence at the RAIR Program in Roswell, NM
These works are repeated circular rubbings on Japanese silk tissue paper of handguns found in pawn and guns shops in New Mexico. Installed as a group, they form an impressive virtual arsenal that appears as a blizzard from afar.
This series was created while in residence at the RAIR Program in Roswell, NM
Death Scenes: Roadrunner and Coyote (2003)
My ceramic landscapes create new endings for the cartoon drama of Wile E. Coyote and the Roadrunner. In the cartoon, the coyote's rudimentary traps backfire. His efforts to catch the bird are always for naught. In my "Death Scenes", the traps succeed forcing the drama to end with the total destruction of the roadrunner.
My ceramic landscapes create new endings for the cartoon drama of Wile E. Coyote and the Roadrunner. In the cartoon, the coyote's rudimentary traps backfire. His efforts to catch the bird are always for naught. In my "Death Scenes", the traps succeed forcing the drama to end with the total destruction of the roadrunner.
Waffle Iron Paintings (2000)
In creating these works, acrylic house paint was heated in waffle irons and cooked onto canvas and paper.
In creating these works, acrylic house paint was heated in waffle irons and cooked onto canvas and paper.
Landscape Painting (2006-7)
My oil paintings create a space in which man-made and natural landscapes interact. In these works, I fuse specific landscapes with complex conglomerations of urban infrastructure, failing systems and detritus. I begin the process by painting and responding to the landscape on site. I find these landscapes in upstate New York, Vermont and locally in abandoned lots and construcion sites in the Bronx and Brooklyn. In my studio, I construct sculptures and installations out of found materials, cement, caulking, acrylic paint and Gel Medium. These constructions are arranged and lit. I paint portions of them into the plein-air landscapes. The resulting paintings are hybrid landscapes through which we view our relationship to the natural world around us.
This work was exhibited in "Rosemarie Fiore: House of Fiction", Winkleman Gallery, New York, NY. October 20- November 26, 2006
My oil paintings create a space in which man-made and natural landscapes interact. In these works, I fuse specific landscapes with complex conglomerations of urban infrastructure, failing systems and detritus. I begin the process by painting and responding to the landscape on site. I find these landscapes in upstate New York, Vermont and locally in abandoned lots and construcion sites in the Bronx and Brooklyn. In my studio, I construct sculptures and installations out of found materials, cement, caulking, acrylic paint and Gel Medium. These constructions are arranged and lit. I paint portions of them into the plein-air landscapes. The resulting paintings are hybrid landscapes through which we view our relationship to the natural world around us.
This work was exhibited in "Rosemarie Fiore: House of Fiction", Winkleman Gallery, New York, NY. October 20- November 26, 2006
