Rachel Beach’s jaunty, multifaceted wood veneer constructions. Sitting halfway between painting and sculpture, these pieces ask us to reflect on our own perception and to see the new in the familiar. Beach’s lyrical forms flip flop between 2 and 3 dimensions, interspersing structural and formal logic with more traditional pictorial illusion. Meticulously crafted and thoroughly materialized, these quirky objects provide a play of opposites, jostling us between the ambiguous and the specific, the minimal and the exuberant, the optimistic and ominous.

Beach’s unique formal and aesthetic constructions are derived from details of art, architecture and design history. By manipulating the grammar of these visually familiar forms, Beach continues to question the construction of meaning in the visual world around us. When cultural references begin to stack-up and cross reference, we can no longer isolate a definitive meaning—As the title suggests, we can no longer be sure where it all began.