ACS Magazine Rine Boyer | March 9, 2020 Issue

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Carnival by

Rine Boyer

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Rine Boyer's Exhibits "All of

Us" at the Oh Art Foundation

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Rine Boyer in the studio

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Bluerider ART "Reclaimed" Rine Boyer

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Bluerider ART - Rine Boyer Q&A

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Common Interest by Rine Boyer

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Protest by R

Rine Boyer

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Rine Boyer Rine Boyer grew up in Buffalo New York, studied art at Reed College in Portland Oregon, and moved to Chicago in 2004 where she fell in love with the variety of characters and neighborhoods. Upon discovering Bridgeport, a neighborhood that has been home to many of Chicago’s politicians as well as a growing arts community, she set up her studio in the Zhou B Arts Center in 2009. Rine participates in national and international shows, her most recent being solo exhibitions at Bluerider ART Gallery in Taipei City Taiwan and Illinois Institute of Technology in Chicago Illinois. Reviews of her work have been featured in the China Times, NOWNews, Newcity, and Gaper’s Block. Recognition of her work includes a juror’s award at the Beverly Arts Center and an honorable mention at the Rockford Midwestern exhibit held at the Rockford Art Museum.

Tell us how you brand yourself as a visual artist.

My work depicts people, which I suppose puts it in the representational bucket, although my paintings are not a window into another world. I have always liked the flatness of modernism, so to keep that flatness I put a layer of shapes over the surface of my paintings. Depending on the series, these shapes can reflect the subject’s interests, what they are thinking, or a characteristic that links them to a larger group. In separating the way a person looks from how I view them I show the distance we have to overcome to understand one another.

Tell us about your artistic process for creating your body of works.

I work in series – and in each series, I explore a different topic. Recent works have focused on capturing hipster culture. I find hipsters interesting because they defy a strict definition. As soon as something is identifiably hipster, it no longer is cool and people have moved onto the next thing. This is why hipsters hate to be called a hipster – ideally, one should be ahead of the crowd and know of things that have yet to be broadly defined. So the culture is always searching for the next cool thing, which makes it hard to capture. Along with the fleeting trends I hope to capture something basic about human nature so that the works describe the culture in a way that makes sense to those who aren’t a part of it.

How much time do you spend in the studio?

Typically I spend about 35 hours in the studio a week, although if I’m getting ready for a show it can be much more.

What the inspiration behind your work?

Broadly it is how people view each other. I’m interested in how people see and try to understand one another. People have been my primary subject matter for the past 13 years. I find us endlessly fascinating, and believe all artwork is ultimately about people – even landscapes are about people because it is how people see or interact with the landscape. Since depicting people is such fertile ground, I have stuck with it and continue to explore what makes us tick.

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Rine Boyer

in the studio

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Rine Boyer's Exhibits at t

the AMFM Music Festival

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Rine Boyer

in the studio

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What have been the influencing factors that have inspired your art career?

Moving my studio to be in a building with other artist studios (specifically the Zhou B Arts Center) has been a huge influence on my art practice. Before that, I had my studio in my apartment and rarely experimented with doing new things. Talking to other artists and seeing their work has helped me to push my work in new directions. For example, in 2010 I created a series of large-scale drawings – most of them were about 6 feet high. The lines in the drawings were quite delicate so I knew I didn’t want to put them behind glass but wasn’t sure how to present them professionally. I noticed an artist down the hallway was playing with resin so wandered into her studio and asked how she did it. Using resin has opened up my studio practice to include a variety of materials, which I don’t think would have happened if I was still working out of my home. Artists nearby have also been very generous about sharing their thoughts on my work, which is a dialogue I very much appreciate and know makes my work stronger.

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In the Spotlight for 31

1 Years by Rine Boyer

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Rine Boyer's Exhibits at the South

h Shore Arts Hidden Perspectives

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What's That b

by Rine Boyer

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Start thw Riot by Rine Boyer

Victorine at Her Summer Job by Rine Boyer

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Waiting for Fred by Rine Boyer

Halftime by Rine Boyer

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Keeping Calm by Rine Boyer

Drafter by Rine Boyer

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Has gallery representation been an intricate part of art career or has worked independently been more beneficial to your career? Or have has a combination of both styles worked best?

Gallery representation has been an important part of my art career. I started working with a gallery about three years ago, and it has boosted my confidence as well as helped me to find an audience for my work. Before that, I experimented with a variety of ways to reach people who may be interested in my work, and I feel that experimenting was a great learning experience and something that I still incorporate in my career.

Tell us about which solo exhibition was a path which lead to more opportunities?

I don’t believe a single event has brought me more opportunities, but I believe being consistent in making and showing my work has led to opportunities. For example, as I was getting started as an artist in Chicago I had a successful show at an alternative space in which I received some nice press and sales from the show. However, I was so drained from putting the show together that I didn’t follow the show up with any additional activity, so any momentum I gained from the show was lost. Now I try to be as consistent as possible in producing work, showing it, and going to see what other artists are doing. As possible being a key phrase in that sentence because it’s not easy to juggle all three.

Tell us about your international exhibiting experience.

I have exhibited predominantly in Taiwan, through the gallery that represents me, Bluerider Art Gallery. Working with the gallery has been a great way to reach new audiences. Not only do they show my work at the gallery but they take my work to art fairs as well. Through an invitation from Injung Oh, another artist in the Zhou Center, I participated in a group exhibition and art fair in Korea.

Tells us how significant collaborative partnerships have been in your career and being involved with an artist community.

A few years ago I collaborated with fellow Chicago artist Robin Dluzen to create a body of eight collaborative works and it was tremendously helpful for my artistic practice. At the time she was making works that explored the landscape of her hometown in Michigan through cardboard replicas of man-made elements like power lines. And I was interested in how humans try to change and control our landscape. Although our styles are vastly different we came together on the concept, which made it a really powerful collaboration. Almost all of the works were a result of sitting down together and discussing how to blend our very different styles. Discussing my work on that level with another artist helped me to revisit elements that I hadn’t thought about in years. And incorporating our works together made me reconceptualize how I approach my work.

What’s your advice for emerging artists considering the changing landscape of the art world?

The most important thing for me was finding a place where I could really make artwork. For years I was trying to work out of my apartment and I think my work suffered for it. As soon as I started working in a separate studio that was a real workspace I noticed a big change in my work. Not only was I a lot more productive, but I started making bigger work because I had the space.

Even then sometimes I didn’t set aside consistent time to make art, which caused me to grow artistically at a slower rate. If I could give my younger self one piece of advice it would to always keep moving forward, no matter how slow.

Another thing that worked well for me as I was getting started in my career was juried exhibitions. When I first came to Chicago I no idea how to get to know other artists and become more active in the Chicago art community. Someone suggested I apply to juried exhibitions to start showing, so I gave it a try and was accepted to some local and national group shows. Through doing these shows I learned things like how to package and ship my work, how to promote my openings, and how various groups promote exhibitions. However, beyond gaining experience I don’t recommend paying money to exhibit through juried exhibition applications or an exhibition fee. In charging the artist the gallery or space is clearly saying that they don’t anticipate making a profit from sales and so need the artist to offset the cost of the exhibition. However for artists getting started juried exhibitions can be an easy way to gain some real-world experience.

Tell us about some of your exciting upcoming projects.

I’ve been focusing on a busy end of 2015 with a solo show at the Union League club and works in Context Art Miami during Art Miami/Art Basel week. I have also started working on the concept for my solo show coming up in Taipei in the second half of 2016, which will be focusing on in early 2016. visit Rine Boyer's website at http://www.rineboyer.com

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Before the Show ACS July/August 2017 Page9,382020 ACSMagazine Magazine Rine Boyer | March Issue Page 38

Starts by Rine Boyer

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4th of July b

by Rine Boyer

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Family Walk b

by Rine Boyer

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Old Firends b

by Rine Boyer

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Teaching

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Cristy by Rine Boyer

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photo credit - photographer, Yuya Ohashi (yophotography)

Renée LaVerné Rose Publisher & Editor-in-Chief ACS Magazine 1029 West 35th Street Chicago, Illinois 60609 contact@acs-mag.com www.acs-mag.com The ACS Culture www.acs-mag.com/theacsculture

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Mark by Rine Boyer

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ACS Magazine Dig www.acs-mag.com/

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gital Archive Library /digitalarchivelibrary

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New Love by Rine Boyer