DIGITALITY
A series of large works on paper, built op like a desktop with many tabs open. Each tab is filled with a different perspective on one subject. The works may be read as visual essays circling aroud questions like: ‘What does it mean for a person to exist both online and in the fysical world?’ ‘How does the internet differ from God?’ ‘If the internet asks to confirm I am not a robot, to what extent is my answer correct?’
For example, ‘Flip that coin’ (above) revolves around thoughts on facts becoming fiction, and the effects this has on human behaviour. The harshness of polarising online opinions moved Rappard to draw this work as a plea to be patient, to step into the other’s shoes, borrow the other’s perspective.
ASSEMBLED LANDSCAPES
This series is based on landscapes in online games, and the way you move through them. Like digital landscapes, they consist of loose elements that may appear three-dimensional, and are at the same time flat. Most drawings offer access to different worlds to escape to: colourful and radiant, vibrant, calm like a breeze, or rather desolate and barren.
‘Optional Worlds’
acrylic, pencil felt pen, oil pastel on paper
173.5 x 183 cm
2024‘Transfigurative Wind’
acrylic, pencil, oil pastel, felt pen on paper
240 x 423 cm
2024A SENSE OF SELF IN AN AGE OF DIGITALITY
The human figures in these drawings wander lonely through labyrinthic, anonymous spaces. Abstraction descends on them like a shimmering yellow rain, a hopeful glow in which they are absorbed. However it remains ambiguous whether man finds salvation in these streams, or gets lost in them. Human figures are reduced to flat representations of selves: masks or heads squeezed into a compacted abstract stream. Reflections and shadow figures, constantly repeated, as in a hall of mirrors, make it difficult to distinguish which self is the true one.
‘Conversation Room’
pencil and crayon on paper
168 x 240 cm
2021 
‘Compression’
pencil and acrylic on paper
146 x 232 cm
2021
