boston

Rebecca Chamberlain

judi rotenberg gallery

Rebecca Chamberlain’s intensely labored, monochromatic ballpoint and litho ink drawings of modernist interiors may seem to fixate on the heroic staging of the relationship between form and function, but they are primarily engaged with capturing the residue of the lives that once animated the structures they depict. Though people are entirely absent, their affective traces permeate the artist’s elegant renderings of domestic, administrative, and factory spaces; the effect is that of a missed encounter, as if the spectator has arrived a few moments too late and must reconstruct the departed protagonist’s identity from only a handful of scattered clues.

This notion of belated arrival is evident in the triptych Living Corners Arrangement Screen, 1935–39, 2009. Each panel features as its focal point an unoccupied armchair, surrounded by such accessories as a coffee table with a vase of flowers,

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