Rebeca Bollinger works with hybrid forms that fluctuate between flat space and objects, painting, sculpture, and moving images. She uses her own photographic archive as raw source material for other forms, dismantling pictures into fragments that are reassembled and translated into ceramics, drawing, collage, photography, sculpture, sound, installation, prints, books, animation, and sculptural video projection. Individual works function as momentary points of focus from within a much larger shifting perceptual and informational field, echoing Bollinger's long-time interest in the elasticity and representation of archives through systems of ordering, annotation, translation, and constructed histories.
Bollinger has exhibited nationally and internationally and her work has been reviewed in Artforum, Flash Art, the New York Times, Los Angeles Times, Sculpture News, Art Papers, New Art Examiner, the San Francisco Chronicle, and Artweek. Her work has been featured in exhibitions such as Art in the Anchorage (New York); the California Biennial (Orange County Museum of Art); Bay Area Now (Yerba Buena Center for the Arts); and 010101: Art in Technological Times (SFMOMA.) Solo exhibitions include Henry Art Gallery (Seattle,) Feigen Contemporary (New York,) Rena Bransten Gallery (San Francisco,) and Walter Maciel Gallery (Los Angeles); group exhibitions include Angles Gallery, the de Young Museum, Museum Fridericianum, Hunter College, Krannert Art Museum, SFMOMA, and Pacific Film Archive, among others. Bollinger is a recipient of a SECA Award from the San Francisco Museum of Modern Art, the James D. Phelan Award in Video, a Eureka Fellowship from the Fleishhacker Foundation, and the Artadia Award.