My work tells stories about the fabric of people’s lives and the rituals created to bring comfort to our lives. I am fascinated by the things (both spiritual and physical) that people cling to in order to find – and define – “identity”. How do we choose what we see? How does this affect what we remember? As families and communities, we create shared folklore to memorialize people, places and events. As individuals, we create personal mythologies to help us contextualize our past and imagine our future. Intertwining these themes, my work similarly enmeshes artistic disciplines in a memory-based, magical realism scaffolded by nostalgia.
Throughout my life I have been a collector and a hoarder. I am constantly reorganizing, cataloging and creating shrines and groupings with the objects that I find. I use glass, found materials, beads and food to create sculpture and jewelry, which remain my primary mode of expression. I began beading at the age of five, from which I realized a consistent impulse to create cohesive, sometimes incongruous, mosaics from smaller components. The found objects I use (photographs, fabric, candy wrappers and other curios) function as artifacts in each work’s constructed symbology, preserved in glass.
I make work that expresses time, conveys history, and serves as a means to preserve perceived memory. The wearable art I make acts as models for my larger scale work; my sculpture becomes a memory of its smaller counterpart. Some of this work is narrative and some decorative. I am inspired by the labor intensive and ritualistic nature of Prison Art; the philosophy and design of the Bauhaus Movement; the iconography and culture of the United States’ Post-World War II era.
Erica Rosenfeld lives and works in Brooklyn, NY. She uses glass, beads, fabric, food and found objects to create her work. Aside from her sculpture, installations and performances, she has a line of jewelry and functional glass. Through all of these disciplines she seeks to make work that expresses time, conveys history, and serves as a means to preserve perceived memory. Her wearable art acts as models for her larger scale work; her sculpture becomes a memory of its smaller counterpart.
Erica is a founding member of The Burnt Asphalt Family, an artists’ collective whose mission is to create unique, performance-based “installations” that reinvent objects and redefine the relationships of audience and performer, observer and participant. “Each installation activates its space at the crossroads between art, craft, and design, through innovative techniques like hot-glass cooking demonstrations, shared meals and edible sculptures.
Erica has taught at Urban Glass, The Corning Museum and Worchester Center for Crafts; she has been a visiting artist at University of the Arts, Pratt University and University of Louisville. Her work is included in the collection of the Museum of Arts and Design and The Museum of American Glass. Erica also has been featured in various publications including The New York Times, Glass Magazine, New York Magazine and American Craft. Her work is shown internationally in galleries, stores and museums.