Rebecca Goyette

In her paintings, Goyette draws from historical and current events to portray figures of political and social importance and their complicated relationships to mass culture and the "underclass". In her large-scale, mural-like painting "Marie Antoinette, Madame Says 'Let Them Eat Cake'" (2005), the central figure, Marie Antoinette, one part drag queen and one part grand dame of the court of Louis the XVI, lifts her opulent skirts like the Sugar Plum Fairy in the Nutcracker Suite to reveal dozens of artists? the contemporary counter culture? gorging themselves on cake. In another smaller scale painting, "Election 2008" (2006), bikini-clad Condolezza Rice and Hillary Clinton wrestle in an inflatable kiddie pool of Jello while an audience of onlookers, Americans in all our diverse incarnations, watch and cheer for this realization of our closeted fantasies about sexuality, power, race and gender. Other paintings, such as "Missile Dick Chick Visits Mom" (2006), "Rock on Girl" (2006), and "Last Call for Libations and Dominations" (2005), use lesser known or unknown figures to explore everyday clashes between the conservative social establishment and current anti-establishment cultural trends, as well as our expectations of both.

In her ceramic work, Goyette focuses her eye and her wit more specifically on the issue of gender and the conflicts inherent in heterosexual marriage. In the pair "Piggy Bank Bride and Megabucks Groom" (2004) the couple stands side by side, each betraying the financial relationship that underscores their union. The bride, with coin sized slots on each of her ample breasts and another demurely hidden by her hands crossed at her pelvis, is a bank from which there are no withdrawals without breaking her to pieces. Her groom, faceless, older and shorter has paper money adorning the lapels of his tuxedo and a flaccid limousine hanging, exposed through the fly of his trousers. In "Junk Food Bride" (2005), the solitary bride, her gown encrusted with pizza slices, ice cream and hot dogs, presents a carton of french fries, a carefully selected bridal bouquet. Her torso lifts off the wide skirt of her dress, like a cookie jar, to reveal an orgy of sexual deviance inside. Carnal indulgences are the overt and covert theme of her nuptial bliss. In other works in this series, Goyette uses the same dexterity with her materials and intelligent humor in her approach to parody relationships between men and women and the professed sanctity of matrimony in contemporary society.

Throughout Delicious, Goyette's use of non-traditional materials such as glitter, sculpey clay, found objects, and food, as well her mastery of her traditional materials, clay and paint, are well-considered. The resulting series of paintings and sculptures are a rare combination of accessible, fun works that also disturb by provoking a thoughtful response.

Article featured in NY Arts Magazine, Jan/Feb 2007 edition: "Delicious, Wicked Satires by Rebecca Goyette at the NY Studio Gallery," by Dena Muller


Click here for Rebecca Goyette's Bio and Past Exhibits

Detail, Junk Bride Food

Election 2008

Marie Antoinette Madame

Party on Bride

Piggy Bank Bride And Megabucks Groom

Professional Sensationalist

Rock on Girl

Trophy Bride
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