June Kelly Gallery


Rebecca Welz
Sunstalks and Barnacles

Sunstalks with Copper, 2017, welded steel and copper, 77" x 36" x 29"

Sunstalks with Copper, 2017
Welded steel and copper
77 x 36 x 29 inches

Sunstalks and Barnacles, an exhibition of welded steel sculptures by Rebecca Welz — provocative rhythmic explorations that reflect her captivation with line and movement as continuum in space — will open at the June Kelly Gallery, 166 Mercer Street, on November 17. The exhibition will remain on view through December 19.

“As I make sculpture with my torches and tools,” says Welz, “I look to find the poetry and rhythms that give glimpses into the world of nature but also beyond, into the concrete and also the spiritual.  I work to transform round steel rod, hard and machine rolled, into something that is soft and fluid and looks like it is moving and still growing.”

Welz speaks of her sculptures as line drawings in three dimensions that describe and define space, the lines energetically entwining around and through each other.  “They have a sense of time and suggest to the viewer they have been around for a long time on this blue planet.”

Welz’s intriguingly innovative approach of twisting, bending and welding rods of steel challenge the limitations of her material while simultaneously highlighting the fragility of many natural forms.  The whimsy of fantasy is seen in the lyrical free-standing, Sunstalks with Copper, 2017 and the wall installation of labyrinths including Angler Barnacle, 2017.

Welz’s sculptural language of gestural lines shaped to the slenderest proportions reflects mesmerizing nuances of her material and imagination. In this exhibition, Welz represents her pieces in convincing illusion of real space, encouraging the viewer to physically interact with them, an idea that was radical until Giacometti’s Surrealist sculpture of the 1930s.

Welz’s investigation of physical space, weightlessness and pictorial elements of the form, conveys the sense of naturalness to her creative process, perhaps, similar to that of the writer, wherein the various parts develop, one from another, rather than sticking rigidly to a preconceived plan.

“I have seen many wonders, and they are humbling; majestic sequoias in California that can live to be 3,500 years old; a row of eagle rays in the Caribbean synchronizing their fins, each one having a different but similar green brocade like pattern; a full grown green turtle padding onto the beach in Mexico.”

Perhaps, to that contemplation, could be added, Welz’s sculptures, organic in that they have the characteristics of a living system consisting of smoothly running interacting parts imitative of being shaped by the processes of Darwinian evolution.

Rebecca Welz, a native of Sausalito, California, lives and works in New York City. She received a bachelor’s degree from Empire State College of the City University of New York, and also studied at the Boston Museum School of Fine Art. Welz’s work has been shown in numerous one-person and group exhibitions. She is represented in many corporate and private collections, including Goldman Sachs; Cleary, Gottlieb, Steen & Hamilton; Credit Lyonnais, Prudential Life Insurance Corporation, AXA Corporation, Pfizer Incorporated, and Warburg Pincus, all of New York.


Click on thumbnail for larger image.

Knitpiece with Copper - 2017

Scribble - 2017 Gallery Installation Grid Barnacle - 2016

Rebecca Welz Bio

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