Rushin believes that being an artist is an industrious job and she has the hands to show it. Her work explores relationships between people and spatial environments through painting, sculpture and installation. Rushin’s work has appeared across the US and in Korea including Aqua Art Miami, Art and Literature Laboratory in Cambridge, MA, Prospect 1-Satellite at Trumpet in New Orleans, Mass MoCA, and Soho20 New York. She is the recipient of numerous grants and her work has been featured twice in New American Paintings.
The work in Parish hinges on a relationship between time and place. I’ve based these paintings and drawings on my impressions of the Louisiana landscape as I move through it. This approach involves a combination of sequential and elastic experiences. The sequential stage involves identifying and noticing characteristics as I drive the back roads of Tangipahoa Parish. These experiences compress into a single moment – the painting or drawing – where the act of remembering is expansive.
Although my previous series, Place, was heavy on drawing, Parish, embraces the unique properties of paint – its material sensuality, tactility, and atmospheric possibilities. These qualities correspond to the imprecision of our memories. Imagery of detritus frequently shows up in my work because I am interested in its symbolic significance as well as its unlikely potential for painterly beauty. Not only do these rejects left in piles or scattered along the roadsides represent personal histories, the cyclical forces of economic “development,” and the twining nature of growth and decay, they also mirror the fragmented nature of memory itself.