Raychael Stine
long needed updates are now happening--

In the meantime:

"Abstraction: A Visual Language"
runs 6/12 - 7/31 2015

Rhona Hoffman Gallery
118 N. Peoria St
Chicago IL 60607


This fall, look for my work in New American Paintings #120 !

Art Palace Gallery
February 20 to March 27th

was chosen #1 pick on Glasstire- week of March 5

and reviewed in Arts and Culture Magazine by Charisse Pearlina Weston Here:

There is also a nice catalog made by Art Palace on occasion of the exhibition, with an essay by Nancy Zastudil.

The small exhibition, "Pickle and the Summer of Rainbows" at Pacific Exhibits was selected as a top 5 show in 2014 by Claude Smith on the New American Painting Blog:


"my little dust"
Inpost Artspace
opens September 5-Oct 31st

and a small installation at
Pacific Exhibits

both curated by the awesome Nancy Zastudil

Conversation with Art Pena on New American Paintings Blog:

Raychael Stine

Artist Statement

I often paint my dogs and our shared emotional and physical terrain. The paintings are sometimes humorous, innocuous, or dangerous. At times the power dynamics are not clear and there is a subtle confusion of space and possibility. Dogs traverse emotional, physical and conceptual grey areas.

There are multiple kinds of representation happening, where forms melt back into material, and where material begins to allude to image- something alive and physical- vibrant, violent and active. Then to something nameable, an image or painting that is seemingly knowable, comforting, disarming. Pieces, marks, and media appear disparate and oppositional at times.

Some paintings slip between traditional thematic representations, images that conjure photography, or Vision abstractions that represent the optical, temporal and physical. Some paintings eventually exist only as photographs- like a visitor, memory, or ghost; Photographs document subjects and objects simultaneously.

While each piece is fearlessly self-possessed, the work as a body is a constantly moving cycle, shifting behind the scenes, always resisting being pinned down as one thing. It shape shifts and playfully presents and re-presents itself, questioning assumed positions and concepts relating to histories of painting and picture making.

My intentions are not in mimicking or rehashing the deconstruction of canonical representation or abstraction, but rather, I am interested in re-doing, (not un-doing)--In the re-address of painterly abstraction, representation, looking, seeing and picturing from a new position and from a different angle. My way of working is open, inquisitive; my explorations driven by obsession, affection, love and desire.