work
Rebecca Ripple work  aluminum, copper, acrylic
cork
2016
aluminum, copper, acrylic
23 x 74 x 16in.
Rebecca Ripple work  photocopy, tape
brain
2016
photocopy, tape
13 x 17 x 2.25 in. (framed)
Rebecca Ripple work  painted steel
Graffiti Fence (gallery entrance view)
2016
painted steel
135 x 205 x 172 in.
Rebecca Ripple work  painted steel
Graffiti Fence
2016
painted steel
135 x 205 x 172 in.
Rebecca Ripple work  painted steel
Graffiti Fence
2016
painted steel
Detail
Rebecca Ripple work  painted steel
Graffiti Fence
2016
painted steel
Detail
Rebecca Ripple work  Parabolic plexiglass mirror, stainless steel, urethane rubber, plexiglass, photo gel, plywood
Barrel of f's: fear 2
2016
Parabolic plexiglass mirror, stainless steel, urethane rubber, plexiglass, photo gel, plywood
134.5 x 15.25 x 29 in.
Rebecca Ripple work  Parabolic plexiglass mirror, stainless steel, urethane rubber, plexiglass, photo gel, plywood
Barrel of f's: fear 2
2016
Parabolic plexiglass mirror, stainless steel, urethane rubber, plexiglass, photo gel, plywood
134.5 x 15.25 x 29 in.
Rebecca Ripple work  mixed
Barrel of f's: fear 2 (detail)
2016
mixed
134.5 x 15.25 x 29 in.
Rebecca Ripple work  plastic, aluminum, hair
Sun King
2016
plastic, aluminum, hair
30 x 21 x 12 in.
Rebecca Ripple work  plastic, aluminum, hair
Sun King
2016
plastic, aluminum, hair
30 x 21 x 12 in.
Rebecca Ripple work
Installation at Klowden Mann Gallery
2016
Rebecca Ripple work  vacuum formed vinyl, aluminum
Godzilla
2016
vacuum formed vinyl, aluminum
120 x 48 x 72 in.
Rebecca Ripple work  vaucuum formed vinyl, aluminum
Godzilla
2016
vaucuum formed vinyl, aluminum
120 x 48 x 72 in.
Rebecca Ripple work  Plastic, aluminum, brass, photocopy, tape, color pencil, hair, champagne foil
Untitled
2016
Plastic, aluminum, brass, photocopy, tape, color pencil, hair, champagne foil
108 x 64 x 24 in.
Rebecca Ripple work  mixed
Untitled (detail)
2016
mixed
108 x 64 x 24 in.
Rebecca Ripple work  painted steel
Graffiti Fence
2015
painted steel
96 x 74 x 86

Oasis show at Descanso Gardens

Rebecca Ripple work  Galvanized steel wire, tape
fid 2
2013
Galvanized steel wire, tape
36 x 36 x 14 in.

"fid" is generated by the structure of the space between bubble cells. The letters f-i-d are formed from the negative space of pushed aside cells. fid is the Latin root for faith or belief, and it also means division.

Rebecca Ripple work  Mixed
Medusa of Suburbia II
2014
Mixed
100 x 96 x 48 in.

Fanatic Exhibition, Upfor Gallery, Portland.
Rebecca Ripple work  Mixed
Medusa of Suburbia II (detail)
2014
Mixed
100 x 96 x 48 in.
Rebecca Ripple work
Medusa of Suburbia II (front view)
2014
100 x 96 x 48 in.

Upfor Gallery, Portland.
Rebecca Ripple work  Mixed
Medusa of Suburbia II (side view)
2014
Mixed
100 x 96 x 48 in.

Upfor: Installation view
Rebecca Ripple work  mixed
Medusa of Suburbia I
2012
mixed
60 x 30 x 36 in.
Rebecca Ripple work
Jesus is a Black Head/ Medusa of Suburbia I
2012
Klowden Mann Gallery: Installation view

Rebecca Ripple work  Mixed
Jesus is a Black Head (profile)
2012
Mixed
144 x 60 x 30 in.
Rebecca Ripple work  Mixed
Jesus is a Black Head (detail: rear side view)
2012
Mixed
144 x 60 x 30 in.
Rebecca Ripple work  Jesus is a Black Head (profile)
Jesus is a Black Head (front)
2012
Jesus is a Black Head (profile)
144 x 60 x 30 in.
Rebecca Ripple work  Mixed
Jesus is a Black Head (front detail)
2012
Mixed
Klowden Mann Gallery: Installation view
Rebecca Ripple work  Mixed
Jesus is a Black Head (detail)
2012
Mixed
144 x 60 x 30 in.
Rebecca Ripple work  Mixed
Jesus is a Black Head (Detail: single pore)
2012
Mixed
144 x 60 x 30 in.
Rebecca Ripple work  linoleum, wood, aluminum
Scorpulum
2012
linoleum, wood, aluminum
62 x 54 x 41 in

Upfor Gallery, Portland.
Rebecca Ripple work  linoleum, wood, aluminum
Scorpulum (top detail)
2012
linoleum, wood, aluminum
62 x 54 x 41 in
Rebecca Ripple work  linoleum, wood, aluminum
Scorpulum
2012
linoleum, wood, aluminum
62 x 54 x 41 in
Rebecca Ripple work  leather, tape, linoleum
belt
2011
leather, tape, linoleum
6 x 6 x 4 in
Rebecca Ripple work  leather, tape, linoleum
belt (side view)
2011
leather, tape, linoleum
6 x 6 x 4 in
Rebecca Ripple work  leather, plastic, tape
corner Belt
2012
leather, plastic, tape
11 x 17 x 24 in.
Rebecca Ripple work  steel, clear tape
insertion
2010
steel, clear tape
20 x 24 x 4 in.

Protruding polished steel letters with razor edges spell insertion. Tape fastens the steel to the wall.
Rebecca Ripple work  steel, clear tape
insertion (front view)
2010
steel, clear tape
20 x 24 x 4 in.
Rebecca Ripple work  steel, clear tape
insertion (Detail)
2010
steel, clear tape
20 x 24 x 4 in.
Rebecca Ripple work  clear tape, acetate
JBH (Jesus is a Black Head)
2012
clear tape, acetate
8 x 8 x 2 in.
Rebecca Ripple work  clear tape, acetate
JBH (side view)
2012
clear tape, acetate
8 x 8 x 2 in.
Rebecca Ripple work  rubber, acrylic, metal, epoxy, urethane
Prospect
2010
rubber, acrylic, metal, epoxy, urethane
204 x 96 x 120 in.

An escalator handrail is restrained by a matrix of metal bars ending in speculum-like clamps. The crystal cluster is acrylic diamonds or spatial drawings with gold fittings.

Municipal Art Gallery: Installation view


Rebecca Ripple work  204 x 96 x 120 in
Prospect (top detail)
2010
204 x 96 x 120 in
Acrylic, urethane, metal
Rebecca Ripple work  rubber, acrylic, metal, epoxy, urethane
Prospect (side detail)
2010
rubber, acrylic, metal, epoxy, urethane
204 x 96 x 120 in
Rebecca Ripple work  rubber, metal, epoxy
Prospect (back detail)
2010
rubber, metal, epoxy
204 x 96 x 120 in.
Rebecca Ripple work  rubber, metal, epoxy
Prospect (detail)
2010
rubber, metal, epoxy
204 x 96 x 120 in.
Rebecca Ripple work  wood, brass
corner
2010
wood, brass
52 x 48 x 48 in.

References architectural corner molding. Brass inlay.
Rebecca Ripple work  wood, brass
corner (detail)
2010
wood, brass
52 x 48 x 48 in
Rebecca Ripple work  Graphite on vellum
drawing for lace for 'lang'
2008
Graphite on vellum
Rebecca Ripple work
lang
Rebecca Ripple work
study for lang[uage]
2009
8.5 x 11 in.
Rebecca Ripple work  wood table, bobbin lace, plaster, paint, acrylic, sculpt-a-mold, graphite
lang[uage]
2009
wood table, bobbin lace, plaster, paint, acrylic, sculpt-a-mold, graphite
42 x 70 x 48 in.

The structure of the space between cells is imposed onto a system of bobbin lace. The disturbance of the cellular structure creates a morpheme (lang) of the word ‘language.’ The word continues onto the wall as a perspective drawing.


Rebecca Ripple work  bobbin lace, hydrocal, sculpt-a-mold, acrylic paint, graphite
lang[uage] (detail)
bobbin lace, hydrocal, sculpt-a-mold, acrylic paint, graphite
42 x 70 x 48 in.
Rebecca Ripple work  wood table, bobbin lace, plaster, paint, acrylic, sculpt-a-mold, graphite
lang[uage] (top view)
wood table, bobbin lace, plaster, paint, acrylic, sculpt-a-mold, graphite
42 x 70 x 48 in.
Rebecca Ripple work  Bobbin lace, hydrocal, acrylic
lang[uage] (detail)
2009
Bobbin lace, hydrocal, acrylic
42 x 70 x 48 in.
Rebecca Ripple work  wood table, bobbin lace, plaster, paint, acrylic, sculpt-a-mold, graphite
lang[uage]
2009
wood table, bobbin lace, plaster, paint, acrylic, sculpt-a-mold, graphite
42 x 70 x 48 in.

The structure of the space between cells is imposed onto a system of bobbin lace. The disturbance of the cellular structure creates a morpheme (lang) of the word ‘language.’ The word continues onto the wall as a perspective drawing.



Rebecca Ripple work  Aluminum awning, resin, gold cord, shrink wrap
Rapunzel
2009
Aluminum awning, resin, gold cord, shrink wrap
8 x 48 x 60 in.

An Orange County color code awning positioned belly up with gradating pink resin forms in each slat. Shrink-wrapped gold cords project out from the resin and weave into the awning. They create a traditional bobbin lace weave.
Rebecca Ripple work  wire, fabric, urethane
Flock of Nuns
2009
wire, fabric, urethane
14 x 8 x 6 ft.

Brass plated wire structures with golden urethane inserts forming habits like those worn by the nuns in the 70s TV show The Flying Nun.



Rebecca Ripple work  wire, fabric, urethane, acrylic paint
Flock of Nuns (Detail)
2009
wire, fabric, urethane, acrylic paint
168 x 96 x 72 in.
Rebecca Ripple work
me please me/ Flock of Nuns (installation view)
2009

Kristi Engle Gallery: Installation view
Rebecca Ripple work  plaster, sculpt-a-mold, hand dyed fabric, paint, wood, cord
me please me
2008
plaster, sculpt-a-mold, hand dyed fabric, paint, wood, cord
48 x 70 x 120 in.

Eight forms in hand painted plaid parochial school skirts with long curling tendrils underneath spell out the phrase "m-e p-l-e-a-s-e" or "p-l-e-a-s-e m-e." Each orifice is stuffed with and pushes back out a letter form. The composition draws on the energy of Rubens’ painting "The Fall of the Damned."



Rebecca Ripple work  plaster, sculpt-a-mold, hand dyed fabric, paint, wood, cord
me-please-me (rear installation view)
2009
plaster, sculpt-a-mold, hand dyed fabric, paint, wood, cord
48 x 70 x 120 in

Kristi Engle Gallery: Installation view


Rebecca Ripple work  plaster, sculpt-a-mold, hand dyed fabric, paint, wood, cord
me please me: m
2008
plaster, sculpt-a-mold, hand dyed fabric, paint, wood, cord
48 x 70 x 120 in.
Rebecca Ripple work  plaster, sculpt-a-mold, hand dyed fabric, paint, wood, cord
me please me: a
2008
plaster, sculpt-a-mold, hand dyed fabric, paint, wood, cord
48 x 70 x 120 in.
Rebecca Ripple work  photocopy, google eye
Sally
2008
photocopy, google eye
12 x 10 in.
Rebecca Ripple work  Mixed
Rubber Glove of Christ
2008
Mixed
20 x 6 x 6 in.
Rebecca Ripple work  Leather, velvet, glass, aluminum, wood
God
2006/2007
Leather, velvet, glass, aluminum, wood
40 x 24 x 18 in.

Three independently weighted forms made with shoe construction methods.

Rebecca Ripple work  Leather, velvet, glass, aluminum, wood
God (Top view)
2006/2007
Leather, velvet, glass, aluminum, wood
40 x 24 x 18 in.

Three independently weighted forms made with shoe construction methods.

Rebecca Ripple work  Leather, velvet, glass, aluminum, wood
God (side view)
2006/2007
Leather, velvet, glass, aluminum, wood
40 x 24 x 18 in.
Rebecca Ripple work  Foam, wood
tongue (after Rubens)
2004
Foam, wood
89 x 108 x 144 in.

Forms spell t-o-n-g-u-e. The letters in tongue embody the fleshy volume of the figures represented in Peter Paul Rubens’ paintings, and the composition is specifically from the "Rape of the Daughters of Luecippus." . . . . . . . . . . .


Glendale Art Gallery: Installation view. John Pearson's sunsets in background


Photo by: Suzanne Adelman

Rebecca Ripple work  foam, wood
tongue
2004
foam, wood

Installation at the Brewery

Photo by: Robert Wedemeyer
Rebecca Ripple work  foam, wood
tongue (rear view)
2004
foam, wood

Installation at the Brewery


Photo by: Robert Wedemeyer
Rebecca Ripple work
tongue (side view)
2004
Rebecca Ripple work
tongue (detail)
2004
Rebecca Ripple work  Gallery's rolling wall, wood, latex paint
uh
2006
Gallery's rolling wall, wood, latex paint
96 x 80 x 24 in.

Created for the “On the Wall” show where artists were asked to use one of the art center’s rolling walls. "uh" is guttural, an utterance and like the wall of the art center's architecture is a disembodied fragment floating with the ability to adapt.
Rebecca Ripple work  Gallery's rolling wall, wood, latex paint
uh (side view)
2006
Gallery's rolling wall, wood, latex paint
96 x 80 x 24 in.

Created for the “On the Wall” show where artists were asked to use one of the art center’s rolling walls. "uh" is guttural, an utterance and like the wall of the art center's architecture is a disembodied fragment floating with the ability to adapt.
Rebecca Ripple work  paint
ABSOLUTELY (side view)
2008
paint
276 x 48 in
Rebecca Ripple work  paint
ABSOLUTELY (front view)
2008
paint
276 x 48 in

ABSOLUTELY is painted in anamorphic perspective. In the 1600s monks used anamorphosis to give the illusion that the once corporeal saints were among us again. ABSOLUTELY is 23 feet long and when viewed from the side appears to float in the room in front of the viewer. The pervasive use of certain words or phrases, such as absolutely, if you will, frankly in our media and business speak has emptied them of their original meaning and they currently serve as a pause or transition. Regardless, these random phrases collectively create a climate indicative of our current thought system. The phrase absolutely seems indicative of our culture’s embrace of polarized thinking.
Rebecca Ripple work  galvanized wire, aluminum tube, tape, cardboard
fid 1
2007
galvanized wire, aluminum tube, tape, cardboard
144 x 96 x 48 in.

"fid" is generated by the structure of the space between bubble cells. The letters f-i-d are formed from the negative space of pushed aside cells. fid is the Latin root for faith or belief, and it also means division.
Rebecca Ripple work  galvanized wire, aluminum tube, tape
fid 1 (Detail)
2006
galvanized wire, aluminum tube, tape
144 x 96 x 48 in.
Rebecca Ripple work  Mixed
"sure"/habit (flock of nuns)
2008
Mixed
174 x 84 x 75 in.

A wire skeletal structures forms a flock of Flying Nuns' habits. At the base are plaster pod-like forms spelling out s-u-r-e. Repeated in gold paint on the floor . Gold quotations mark are on the ceiling above.
Rebecca Ripple work  Mixed
"sure"/habit (flock of nuns)
2008
Mixed
174 x 84 x 75 in.
Rebecca Ripple work  Mixed
"sure"/habit [flock of nuns] (detail)
2008
Mixed
174 x 84 x 75 in.

Plaster pod-like forms are the letters s-u-r-e echoed in a gold graphic below.
Rebecca Ripple work  galvanized wire, plaster, pantyhose
sure habit
2008
galvanized wire, plaster, pantyhose

Wire skeletal structures in the form of the Flying Nuns' habits create a flock. The plaster pod-like weighted forms are the letters s-u-r-e
Rebecca Ripple work  Foam, paper, acrylic, wood
worry
2007
Foam, paper, acrylic, wood
74 x 50 x 24 in.
Rebecca Ripple work  Toilet paper
TP/ lip
2006
Toilet paper
5 x 4.5 x 4.5 in.
Rebecca Ripple work  Home Depot area rug
elbo
2001
Home Depot area rug
102 x 70 x 9 in.
Rebecca Ripple work  Home Depot area rug
elbo (Detail)
2001
Home Depot area rug
102 x 70 x 9 in.
Rebecca Ripple work  aluminum blinds
thigh/blind
2001
aluminum blinds
30 x 29 in.

The word thigh is cut out of a set of Home Depot aluminum blinds.


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