reviews

Reviews of Blindsight, Boston Sculptors Gallery, Boston, MA, 2015

Blindsight detail

“Driscoll’s maze of scrim, vellum, moire, metal and rawhide screens adds to the complexity. At times, the scars and blemishes of the animal hide contribute visual ambiguity, making it tempting to touch the surface to find out if the roughness lies there or in the filmed image…Driscoll’s focus on the sense of touch was easy when she made sculpture–she encouraged people to touch it. Here, these collaborators have made haptic video.”

Marty Carlock, exhibition review of Blindsight, Boston Sculptors Gallery, in Sculpture, November, 2015
http://www.sculpture.org/documents/scmag15/nov_15/nov15_reviews.shtml

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“A dreamlike Blindsight
Visiting sculptor Rosalyn Driscoll and filmmaker Sarah Bliss’s ambitious, lyrical installation, Blindsight, at Boston Sculptors Gallery is like walking into a dream. Bliss’s four-channel video plays over fabric, paper, and rawhide screens that Driscoll has installed throughout a darkened room. Images beam onto and through them; they wrinkle and smear along with the rawhide.
Bliss’s images of rushing rain and ice on branches frame the central narrative, an unspoken, choreographed exchange among a handful of actors, often with water pouring down on them. Moody and beautiful, their movements drift into nearly erotic encounters and into conflict; often, they feel akin to ritual. Indeed, Driscoll’s environment, dark with filmic windows of light, feels like a sacred space, a labyrinth through which we yet can see.”

Cate McQuaid, exhibition review of Blindsight, Boston Sculptors Gallery, in the Boston Globe, June 30, 2015
https://www.bostonglobe.com/arts/2015/06/30/philip-guston-influence-assessed-steven-zevitas-gallery/t26Ftewdwx3JurbCHcUeRM/story.html

Reviews of Generation, GV Art, London, 2013

“The rawhide is translucent and golden, honeyed and haunting. Shaped to form glowing organic enclosures, these shells appear to simultaneously express both eerie feelings and act as safe cavity or cocoon. The creases formed are reminiscent of fallen petals, folding as organic monuments to the time of harvest, gently nudging these time-hardened hides into a sense of motion.”

Megan Dowie, exhibition review of Generation, GV Art, London, in FAD, online journal, London, 2013, http://www.fadwebsite.com/2013/10/01/review-generation-gvart-a-collaborative-work-by-rosalyn-driscoll-and-tereza-stehlikova/

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“Driscoll’s maverick screens range from conch-like structures that approximate the folds and layers of intricate internal organs to shallow, circular winnowing baskets. Whether suspended in mid-air or presented on a glass plinth like a freshly abandoned giant chrysalis, it becomes increasingly difficult to discern whether Stehlíková’s ephemeral moving images are metamorphosing the still skin of Driscoll’s strange receptacles, or if the crevices, hue and irregular form of Driscoll’s sculptures are transforming the original content of Stehlíková’s film.”

Sarah Lester, exhibition review of Generation, GV Art, London, in Journal of Wild Culture, online journal, London, 2013, http://www.wildculture.com/article/generation/1285

“The embodied and implicit tactility of the pieces seems to ooze – one is almost compelled to dive in, and yet, also repelled. The push and pull mimics the body as a site of both pleasure and pain…The spiralling forms in turn, draw the viewer into the private drama too – what was airy countryside has given way to an intensity of colouring and texture endowed by the hide. The residual honeyed scents of beeswax – used as an evocation of its talismanic function in the Eleusinian Myths – infuses the air with an intense sense of ritual and mystery. The loss of innocence and awakening of sexual experience permeates the room in every shadowy crevice.”

Francesca Goodwin, exhibition review of Generation, GV Art, London, in Trebuchet, online journal, London, 2013, http://www.trebuchet-magazine.com/generation-gv-art/

Reviews of Natural Light, Boston Sculptors Gallery, Boston, MA, 2010

“The translucence of rawhide is exploited to good effect…Driscoll plays off the organic aspects of the skins by combining them with hard-edged contemporary materials…Depending on whether she uses or conceals the beauties of rawhide, her work ranges from visually luscious to grotesque.”

Marty Carlock, exhibition review of solo exhibition, Natural Light, Boston Sculptors Gallery, 2010, in Sculpture, October, 2011
http://www.sculpture.org/documents/scmag11/oct_11/oct11_reviews.shtml

“Organic clashes with manmade in Rosalyn Driscoll’s sculptures…’Anatta‘ is the most disturbing piece, a rusty steel case fitted with glass shelves upon which a human form takes shape in rawhide: crumpled head, splayed arms, the cup of a pelvis…this sculpture is indeed a confrontation with emptiness.”

Cate McQuaid, Confronting Emptiness, review of solo exhibition, Natural Light, Boston Sculptors Gallery, in the Boston Globe, November 24, 2010

Anatta

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Review of Second Skin, Brattleboro Museum and Art Center, in Brattleboro Reformer, December 2005

“I touch a hand, it moves on its string, I feel the coolness of the stone, visceral memories of other stones flicker…The sculptural hand touches me back in a way that a purely visual experience never can. The object is purely itself and the moment of touching, though unique, is profoundly connected to many other moments of touch, of feelings. A connection is made, boundaries are lessened.”

Christine Holderness, “Skin Deep,” exhibition review of Second Skin, Brattleboro Museum and Art Center, in Brattleboro Reformer, December 2005

Essay on Rosalyn Driscoll’s work in Sculpture, 1998

“Driscoll’s work is not merely sensuous. It is designed to engage the body, to work with the natural motions of hands, wrists, arms, and elbows. Sometimes a very uninhibited interactor will embrace a piece and lay a cheek to its surface… Knowing these works takes leisure and intimacy…We learn how little time we usually allot to seeing art…She teaches us that looking is not the same as knowing.”

Marty Carlock, “Rosalyn Driscoll: Touching Required” in Sculpture, December 1998