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Rosalyn Bodycomb

Contemporary Art, New York

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Rosalyn Bodycomb

  • Artwork
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NM ROADSIDE IV.jpg

Pixilated

Long before there were things called pixels there existed the term “pixilated” (c.1848). It was a word used to describe  a person who appeared "tipsy, addled, or perhaps led by pixies". I was searching for the correct spelling of the word that describes individual pixels visible in a bitmap, which is p-i-x-e-l-a-t-e-d.

The paintings in PIXILATED reference motion and time, but they sidle up to the subject from different directions. The broad dashes of color at the edges of the larger paintings (35” x 60”) represent pixelation - they occur in the area of what would be the near future, or recent past. The presence of "pixels" indicates the dissolution of that timeline, their appearance is akin to the look of a corrupted digital file. 

The smaller paintings (35” x 27”) are of raindrops on the window of that speeding car. They aren’t so much about a timeline - where this happens, and then that happens - they’re more about this, and that occurring concurrently. The raindrops-on-window model fits my squishy understanding of block theory - where everything that has happened, is happening, or ever will happen, everywhere, occurs simultaneously. 

That being said, I cannot discount the very real possibility that I am now, and may have always been, led by pixies.

Pixilated

Long before there were things called pixels there existed the term “pixilated” (c.1848). It was a word used to describe  a person who appeared "tipsy, addled, or perhaps led by pixies". I was searching for the correct spelling of the word that describes individual pixels visible in a bitmap, which is p-i-x-e-l-a-t-e-d.

The paintings in PIXILATED reference motion and time, but they sidle up to the subject from different directions. The broad dashes of color at the edges of the larger paintings (35” x 60”) represent pixelation - they occur in the area of what would be the near future, or recent past. The presence of "pixels" indicates the dissolution of that timeline, their appearance is akin to the look of a corrupted digital file. 

The smaller paintings (35” x 27”) are of raindrops on the window of that speeding car. They aren’t so much about a timeline - where this happens, and then that happens - they’re more about this, and that occurring concurrently. The raindrops-on-window model fits my squishy understanding of block theory - where everything that has happened, is happening, or ever will happen, everywhere, occurs simultaneously. 

That being said, I cannot discount the very real possibility that I am now, and may have always been, led by pixies.

  NM Rain IV , oil on panel, 35 x 25 inches, 2023

NM Rain IV, oil on panel, 35 x 25 inches, 2023

  NM Roadside III, Ohkay Owingeh , oil on panel, 24 x 18 inches, 2023

NM Roadside III, Ohkay Owingeh, oil on panel, 24 x 18 inches, 2023

 NM Roadside V, oil on panel, 35 x 60 inches, 2023 (private collection)

NM Roadside V, oil on panel, 35 x 60 inches, 2023 (private collection)

  NM Rain I,  oil on panel, 35 x 25 inches, 2023 (private collection)

NM Rain I, oil on panel, 35 x 25 inches, 2023 (private collection)

 NM Roadside I, oil on panel, 34 x 60 inches, 2020

NM Roadside I, oil on panel, 34 x 60 inches, 2020

  NM Rain II , oil on panel, 35 x 25 inches, 2023 (private collection)

NM Rain II, oil on panel, 35 x 25 inches, 2023 (private collection)

  NM Roadside II , oil on panel, 34 x 60 inches, 2022 (private collection)

NM Roadside II, oil on panel, 34 x 60 inches, 2022 (private collection)

  NM Rain III , oil on panel, 35 x 25 inches, 2023

NM Rain III, oil on panel, 35 x 25 inches, 2023

  NM Roadside IV ,   oil on panel, 34 x 60 inches, 2023

NM Roadside IV, oil on panel, 34 x 60 inches, 2023