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Still here, built on salvaged wood panels washed in turquoise and silver, the surface is alive with tangled hair pressed into the paint, dark tendrils reaching across the composition like nerve endings or roots or memory. A fragment of red plastic from a grandmother's stool is nailed and threaded through with Tztitzis strings bound to the surface, held fast by what remains of someone else's life. The red is startling against all that blue and silver,… insistent and warm, the only thing in the piece that refuses to be cool about any of this.
Rivka Karasik grew up ultra- orthodox and Hasidic in Brooklyn. A life steeped in ritual objects, sacred text, and the weight of inherited tradition, and her art has never left that world behind, even as it ruptures and reimagines it. Trained at the Art Students League and Hunter College, she builds layered constructions from salvaged wood, found objects, and ritual materials bound by glue, nails, and thread: assemblages that feel less made than excavated. Her work sits at the intersection of memory and repair: textile threads suturing old wounds, collaged surfaces holding together what time and loss have pulled apart. After a long and frozen winter, she is creating again, and the work shows it.