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Emergence
Sheila Goloborotko
March 29 - June 23, 2023
"For this exhibition, I rearrange clusters of works and present new groups that belong together by affinity, small actions, or connections. With this new-fangled gathering, I recognize unique ecosystems, reveal other patterns, and build authentic relationships.
"Such engagements are also the methodology of my practice. I start by looking at some single element or patterns, build modules, and develop them into more extensive series or masses. The nature of my work replicates patterns and ever- evolving adaptation of complex systems that spread, grow, die, and self-regulate. A new order always arises out of disruption, change, or chaos allowing coherent structures to coalesce into a new form.
"In this ecology, resulting works take symbols of transience, impermanence, and stasis- natural systems, founding documents, language, and democracy itself-and make them changeable, shifting, active, unsettled. In an ideal merging of method and message, this emergence invites us into the chaos to find meaning and to engage in important questions about our relationship with nature, information, and one another. It is a
complex process, continual and never-ending."
Sheila Goloborotko, 2023
Sheila Goloborotko is a multidisciplinary artist who engages in a relentless auto-ethnographic examination of contemporaneous issues as a form of resistance and poetic activism. Resulting works take symbols of intransigence, impermanence, and stasis — natural systems, founding documents, language, and democracy itself—and make them changeable, shifting, active, unsettled. In an ideal merging of method and message, Goloborotko invites us into the chaos to find meaning and to engage in important questions about our relationship with nature, information, and one another.
Sheila Goloborotko
Bill of Rights - Reading Between the Lines , 2019
20 x 15 in (h x w)
900 USD
Screenprint, Oxidized Iron, Pyrogravure
Bill of Rights: Writing Between the Lines
“The Declaration of Independence marked the birth of the United States of America and set forth the unalienable rights to life, liberty, and the pursuit of happiness. Later, the Constitution outlined the style of government and defined the rights to be protected from intrusion by government. We imagined these as unlimited, undefined, endless documents with perpetual posterity.
The contemporaneous political polarity seasoned by alternate facts put these valuable documents—a beacon to all who value freedom—at risk. In this 10-layer screenprint, pyrogravure, and oxidized iron print the words of each amendment are deconstructed and spread apart as an alphabet soup. Each letter is either position by chance or form new words; senseless, the documents lose the weight of the message. Destitute from meaning, burnt letters float on translucent paper covered in rust. The message shows the sign of some wear and tear—and remind us to question the value of freedom and nonsense. “
Sheila Goloborotko
Bill of Rights - Reading Between the Lines , 2019
20 x 15 in (h x w)
900 USD
Screenprint, Oxidized Iron, Pyrogravure
Bill of Rights: Writing Between the Lines
“The Declaration of Independence marked the birth of the United States of America and set forth the unalienable rights to life, liberty, and the pursuit of happiness. Later, the Constitution outlined the style of government and defined the rights to be protected from intrusion by government. We imagined these as unlimited, undefined, endless documents with perpetual posterity.
The contemporaneous political polarity seasoned by alternate facts put these valuable documents—a beacon to all who value freedom—at risk. In this 10-layer screenprint, pyrogravure, and oxidized iron print the words of each amendment are deconstructed and spread apart as an alphabet soup. Each letter is either position by chance or form new words; senseless, the documents lose the weight of the message. Destitute from meaning, burnt letters float on translucent paper covered in rust. The message shows the sign of some wear and tear—and remind us to question the value of freedom and nonsense. “
Sheila Goloborotko
Bill of Rights - Reading Between the Lines , 2019
20 x 15 in (h x w)
900 USD
Screenprint, Oxidized Iron, Pyrogravure
Bill of Rights: Writing Between the Lines
“The Declaration of Independence marked the birth of the United States of America and set forth the unalienable rights to life, liberty, and the pursuit of happiness. Later, the Constitution outlined the style of government and defined the rights to be protected from intrusion by government. We imagined these as unlimited, undefined, endless documents with perpetual posterity.
The contemporaneous political polarity seasoned by alternate facts put these valuable documents—a beacon to all who value freedom—at risk. In this 10-layer screenprint, pyrogravure, and oxidized iron print the words of each amendment are deconstructed and spread apart as an alphabet soup. Each letter is either position by chance or form new words; senseless, the documents lose the weight of the message. Destitute from meaning, burnt letters float on translucent paper covered in rust. The message shows the sign of some wear and tear—and remind us to question the value of freedom and nonsense. “
Sheila Goloborotko
Bill of Rights - Reading Between the Lines , 2019
20 x 15 in (h x w)
900 USD
Screenprint, Oxidized Iron, Pyrogravure
Bill of Rights: Writing Between the Lines
“The Declaration of Independence marked the birth of the United States of America and set forth the unalienable rights to life, liberty, and the pursuit of happiness. Later, the Constitution outlined the style of government and defined the rights to be protected from intrusion by government. We imagined these as unlimited, undefined, endless documents with perpetual posterity.
The contemporaneous political polarity seasoned by alternate facts put these valuable documents—a beacon to all who value freedom—at risk. In this 10-layer screenprint, pyrogravure, and oxidized iron print the words of each amendment are deconstructed and spread apart as an alphabet soup. Each letter is either position by chance or form new words; senseless, the documents lose the weight of the message. Destitute from meaning, burnt letters float on translucent paper covered in rust. The message shows the sign of some wear and tear—and remind us to question the value of freedom and nonsense. “
Sheila Goloborotko
Bill of Lies I , 2019
20 x 15 in (h x w)
1800 USD
Screenprint, Oxidized Iron, Pyrogravure and Chine-collé
Sheila Goloborotko
Bill of Lies II , 2019
20 x 15 in (h x w)
1800 USD
Screenprint, Oxidized Iron, Pyrogravure and Chine-collé
Sheila Goloborotko
Vox Populi , 2019
16 x 16 in (h x w)
1800 USD
Screenprint, Oxidized Iron, Pyrogravure
Not Available
Sheila Goloborotko
The Devil's Dictionary , 2019
20 x 15 in (h x w)
900 USD
Screenprint, oxidized iron, pyrogravure
“This series began in 2018 when seeking to say something rational and meaningful about the state of the Union—I couldn’t. The political static and the noise of fake news was just too much. So, I turned to the Bill of Rights, drafted and proposed 1789 by James Madison, who was a member of the first United Sates Congress. In the art-making process that is part ritual healing, part deconstruction, burned its letters one by one with a pyrographer (a crafting solder) into 10 pieces of paper—the ten amendments. Identifying to protect individual liberties such as freedom of speech, religion, and the press, the rights to bear arms and the right to a fair and speedy trial.”
Sheila Goloborotko
The Devil's Dictionary , 2019
20 x 15 in (h x w)
900 USD
Screenprint, Oxidized Iron, Pyrogravure
“This series began in 2018 when seeking to say something rational and meaningful about the state of the Union—I couldn’t. The political static and the noise of fake news was just too much. So, I turned to the Bill of Rights, drafted and proposed 1789 by James Madison, who was a member of the first United Sates Congress. In the art-making process that is part ritual healing, part deconstruction, burned its letters one by one with a pyrographer (a crafting solder) into 10 pieces of paper—the ten amendments. Identifying to protect individual liberties such as freedom of speech, religion, and the press, the rights to bear arms and the right to a fair and speedy trial.”
Sheila Goloborotko
|you| |me| (Small Matters) , 2017
8 x 10 in (h x w)
650 USD
Copper/Aluminum Embossment and Digital Print
|me| |you| series
Where do |you| start and |me| end? Can |you| and |me| be so different, yet very much the same?
Our life experience is based in polarized dualities and our minds cannot understand anything unless the opposite is brought in-through comparison and contrast. Maybe there is a chance that our conflicts are inner, not outer, and this duality is a condition of our rational mind.
It is possible to learn to experience things as they are—without judgment—and accept the whole as it is. Perhaps, rather than living in chaos and contradiction, we can allow the perspective of complimentary, cooperation and harmony become more porous to our survival.
Our existence is defined by natural rhythms and cycles: we live and die; we love and hate. It is the basic principle of life. But in love, when opposites meet, they are complimentary forces, not conflicting.
|you| and |me| are a Necessary Part of a Whole. This is life, not logic.
Sheila Goloborotko
|you| |me| (Duality) , 2017
7 x 5 in (h x w)
500 USD
Digital print on acetate and embossment on copper
|me| |you| series
Where do |you| start and |me| end? Can |you| and |me| be so different, yet very much the same?
Our life experience is based in polarized dualities and our minds cannot understand anything unless the opposite is brought in-through comparison and contrast. Maybe there is a chance that our conflicts are inner, not outer, and this duality is a condition of our rational mind.
It is possible to learn to experience things as they are—without judgment—and accept the whole as it is. Perhaps, rather than living in chaos and contradiction, we can allow the perspective of complimentary, cooperation and harmony become more porous to our survival.
Our existence is defined by natural rhythms and cycles: we live and die; we love and hate. It is the basic principle of life. But in love, when opposites meet, they are complimentary forces, not conflicting.
|you| and |me| are a Necessary Part of a Whole. This is life, not logic.
Sheila Goloborotko
About Structures I , 2011
16 x 16 in (h x w)
1800 USD
Relief Monotype
About Structures Series
“Before all systems collapse, I take time to consider new ways of relating and think about structures to connect. Made with spool steel wool, fragile and mundane, this new structure proofs its resilience—even under pressure, inked on paper through the printing press. There is no “end” to what Nature, in aggregate, can do. Nature, ever generous, likes to keep things open to us.” – Sheila Goloborotko
Monotypes are prints, but with one major difference from other printmaking processes: the artist creates exactly one print, instead of multiples (called editions).
The artist applies paint or ink directly onto the plate — which is metal, glass, plexiglass, or even gelatin. The plate is pressed against the paper to transfer the ink. The printing can be done with a printing press or often by hand.
Sheila Goloborotko
About Structures II , 2011
16 x 16 in (h x w)
1800 USD
Relief Monotype
About Structures Series
“Before all systems collapse, I take time to consider new ways of relating and think about structures to connect. Made with spool steel wool, fragile and mundane, this new structure proofs its resilience—even under pressure, inked on paper through the printing press. There is no “end” to what Nature, in aggregate, can do. Nature, ever generous, likes to keep things open to us.” – Sheila Goloborotko
Monotypes are prints, but with one major difference from other printmaking processes: the artist creates exactly one print, instead of multiples (called editions).
The artist applies paint or ink directly onto the plate — which is metal, glass, plexiglass, or even gelatin. The plate is pressed against the paper to transfer the ink. The printing can be done with a printing press or often by hand.
Sheila Goloborotko
About Structures III , 2011
16 x 16 in (h x w)
1800 USD
Relief Monotype
About Structures Series
“Before all systems collapse, I take time to consider new ways of relating and think about structures to connect. Made with spool steel wool, fragile and mundane, this new structure proofs its resilience—even under pressure, inked on paper through the printing press. There is no “end” to what Nature, in aggregate, can do. Nature, ever generous, likes to keep things open to us.” – Sheila Goloborotko
Monotypes are prints, but with one major difference from other printmaking processes: the artist creates exactly one print, instead of multiples (called editions).
The artist applies paint or ink directly onto the plate — which is metal, glass, plexiglass, or even gelatin. The plate is pressed against the paper to transfer the ink. The printing can be done with a printing press or often by hand.
Sheila Goloborotko
About Structures IV , 2011
16 x 16 in (h x w)
1800 USD
Relief Monotype
About Structures Series
“Before all systems collapse, I take time to consider new ways of relating and think about structures to connect. Made with spool steel wool, fragile and mundane, this new structure proofs its resilience—even under pressure, inked on paper through the printing press. There is no “end” to what Nature, in aggregate, can do. Nature, ever generous, likes to keep things open to us.” – Sheila Goloborotko
Monotypes are prints, but with one major difference from other printmaking processes: the artist creates exactly one print, instead of multiples (called editions).
The artist applies paint or ink directly onto the plate — which is metal, glass, plexiglass, or even gelatin. The plate is pressed against the paper to transfer the ink. The printing can be done with a printing press or often by hand.
Sheila Goloborotko
About Structures V , 2011
16 x 16 in (h x w)
1800 USD
Relief Monotype
About Structures Series
“Before all systems collapse, I take time to consider new ways of relating and think about structures to connect. Made with spool steel wool, fragile and mundane, this new structure proofs its resilience—even under pressure, inked on paper through the printing press. There is no “end” to what Nature, in aggregate, can do. Nature, ever generous, likes to keep things open to us.” – Sheila Goloborotko
Monotypes are prints, but with one major difference from other printmaking processes: the artist creates exactly one print, instead of multiples (called editions).
The artist applies paint or ink directly onto the plate — which is metal, glass, plexiglass, or even gelatin. The plate is pressed against the paper to transfer the ink. The printing can be done with a printing press or often by hand.
Sheila Goloborotko
About Structures VI , 2015
16 x 16 in (h x w)
1800 USD
Relief Monotype
About Structures Series
“Before all systems collapse, I take time to consider new ways of relating and think about structures to connect. Made with spool steel wool, fragile and mundane, this new structure proofs its resilience—even under pressure, inked on paper through the printing press. There is no “end” to what Nature, in aggregate, can do. Nature, ever generous, likes to keep things open to us.” – Sheila Goloborotko
Monotypes are prints, but with one major difference from other printmaking processes: the artist creates exactly one print, instead of multiples (called editions).
The artist applies paint or ink directly onto the plate — which is metal, glass, plexiglass, or even gelatin. The plate is pressed against the paper to transfer the ink. The printing can be done with a printing press or often by hand.
Sheila Goloborotko
About Structures VII , 2011
16 x 16 in (h x w)
1800 USD
Relief Monotype
About Structures Series
“Before all systems collapse, I take time to consider new ways of relating and think about structures to connect. Made with spool steel wool, fragile and mundane, this new structure proofs its resilience—even under pressure, inked on paper through the printing press. There is no “end” to what Nature, in aggregate, can do. Nature, ever generous, likes to keep things open to us.” – Sheila Goloborotko
Monotypes are prints, but with one major difference from other printmaking processes: the artist creates exactly one print, instead of multiples (called editions).
The artist applies paint or ink directly onto the plate — which is metal, glass, plexiglass, or even gelatin. The plate is pressed against the paper to transfer the ink. The printing can be done with a printing press or often by hand.
Sheila Goloborotko
About Structures VIII , 2011
16 x 16 in (h x w)
1800 USD
Relief Monotype
About Structures Series
“Before all systems collapse, I take time to consider new ways of relating and think about structures to connect. Made with spool steel wool, fragile and mundane, this new structure proofs its resilience—even under pressure, inked on paper through the printing press. There is no “end” to what Nature, in aggregate, can do. Nature, ever generous, likes to keep things open to us.” – Sheila Goloborotko
Monotypes are prints, but with one major difference from other printmaking processes: the artist creates exactly one print, instead of multiples (called editions).
The artist applies paint or ink directly onto the plate — which is metal, glass, plexiglass, or even gelatin. The plate is pressed against the paper to transfer the ink. The printing can be done with a printing press or often by hand.
Sheila Goloborotko
Untitled 1 , 2017
60 x 48 in (h x w)
21000 USD
Oil on Canvas
The “Untitled” Series is part of a body of work created in the summer of 2017 at the R&F Studio in Kingston, New York. The “contemporaneous” project included large- and small-scale works made of encaustic (painting with heated wax) and traditional oil painting methods. The paintings reflect the Goloborotko’s ongoing interests and concerns for the ecosystem, ecology, communication, and evolution.
Sheila Goloborotko
Untitled 2 , 2017
60 x 48 in (h x w)
21000 USD
Oil on Canvas
The “Untitled” Series is part of a body of work created in the summer of 2017 at the R&F Studio in Kingston, New York. The “contemporaneous” project included large- and small-scale works made of encaustic (painting with heated wax) and traditional oil painting methods. The paintings reflect the Goloborotko’s ongoing interests and concerns for the ecosystem, ecology, communication, and evolution.
Sheila Goloborotko
Untitled 3 , 2017
60 x 48 in (h x w)
21000 USD
Oli on Canvas
The “Untitled” Series is part of a body of work created in the summer of 2017 at the R&F Studio in Kingston, New York. The “contemporaneous” project included large- and small-scale works made of encaustic (painting with heated wax) and traditional oil painting methods. The paintings reflect the Goloborotko’s ongoing interests and concerns for the ecosystem, ecology, communication, and evolution.
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