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Untitled (Laughing Woman Stage)
ca. 2004
12 1/4 x 9 3/4 in. (31.12 x 24.77 cm)
Clare Rojas (Columbus, Ohio, 1976 - ) Primary
Initial Public Offering: New Works from SJMA’s Permanent Collection (2014)
Painter, filmmaker, and musician Clare Rojas develops a personal, esoteric folklore in her work with recurring characters that interact and travel through environments. Her whimsical panel paintings and drawings appear innocent enough at first glance, yet possess a fairy tale – like darkness beneath the surface. Rojas's unique visual vocabulary taps into San Francisco's short-lived but deep-rooted tradition of folkish, visionary street art defined by artists like her husband Barry McGee, Chris Johanson, Ed Templeton, and Margaret Kilgallen. Tulip Twins (Triptych) is a banner example of her predilection for peasant art imagery: Pennsylvania Dutch hex signs (a common visual trope in her work) comprise a landscape for Russian peasants; Untitled (RedFeather Flower) features organic, pointed shapes and geometric forms reminiscent of quilting patterns painted in a flatness and limited palette that recalls printmaking, a medium Rojas studied as an undergraduate at the Rhode Island School of Design.
Initial Public Offering: New Works from SJMA’s Permanent Collection, March 1, 2014 - August 24, 2014, New Wing, First floor, Gibson Family Gallery and Plaza Gallery, San José Museum of Art.
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by Artist (54)
Untitled (Laughing Woman Stage)
Painting
ca. 200412 1/4 x 9 3/4 in. (31.12 x 24.77 cm)
Clare Rojas (Columbus, Ohio, 1976 - ) Primary
Object Type: Painting
Medium and Support: Acrylic on wood panel
Credit Line: Museum purchase with funds contributed by Barbara and William Hyland
Accession Number: 2013.09.04
SJMA Label Text
Initial Public Offering: New Works from SJMA’s Permanent Collection (2014)
Painter, filmmaker, and musician Clare Rojas develops a personal, esoteric folklore in her work with recurring characters that interact and travel through environments. Her whimsical panel paintings and drawings appear innocent enough at first glance, yet possess a fairy tale – like darkness beneath the surface. Rojas's unique visual vocabulary taps into San Francisco's short-lived but deep-rooted tradition of folkish, visionary street art defined by artists like her husband Barry McGee, Chris Johanson, Ed Templeton, and Margaret Kilgallen. Tulip Twins (Triptych) is a banner example of her predilection for peasant art imagery: Pennsylvania Dutch hex signs (a common visual trope in her work) comprise a landscape for Russian peasants; Untitled (RedFeather Flower) features organic, pointed shapes and geometric forms reminiscent of quilting patterns painted in a flatness and limited palette that recalls printmaking, a medium Rojas studied as an undergraduate at the Rhode Island School of Design.
Exhibition
Initial Public Offering: New Works from SJMA’s Permanent Collection, March 1, 2014 - August 24, 2014, New Wing, First floor, Gibson Family Gallery and Plaza Gallery, San José Museum of Art.
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Dimensions
- Image Dimensions: 12 1/4 x 9 3/4 in. (31.12 x 24.77 cm)
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