Get Visual: Recycled and Refashioned: The Art of Ruby Silvious at AIHA
It’s no secret that the greater Capital Region has long been home to a rich community of visual artists. The reasons for this are many, including location, job opportunities, cost of living, and numerous colleges and universities with strong art programs being nearby.
Most of these local artists succeed at various levels, and some are well established in other markets (such as New York City), but it’s rare that one breaks out in a big way – so when that happens, it’s cause for celebration. I therefore commend the Albany Institute of History & Art for doing justice to our latest local hero, Ruby Silvious, with a terrifically likeable five-year survey of her work.
I was lucky to have had the chance to visit Recycled and Refashioned: The Art of Ruby Silvious before the pandemic shut it down in late March, and I’m delighted that the museum, which has just re-opened to visitors, extended the show’s run through Aug. 30, because this is a show literally everyone should try to see.
Like most successful artists, Silvious is incredibly hardworking, as evidenced by the striking quantity and range of the work in this show. But her impressive output doesn’t come at the expense of quality – indeed, Silvious seems to get better the more she produces. So, while the number of works on view can be a little overwhelming (multiple viewings are advised), the repetition of many examples in her major themes serves to underscore the wonder of this artist’s intensive daily practice.
That daily practice itself is a unifying theme here, as is an abiding interest in clothing (hence the fashion reference in the show’s title). While Silvious employs numerous techniques, including drawing in ink, painting in watercolor and gouache, printmaking, collage, sewing – and more – the re-use of materials is an overriding methodology in her work. In addition to the used tea bags that are her claim to fame, Silvious paints on eggshells, acorns, pistachio shells, paint chip samples, leaves, stones and, yes, even paper. She also refashions packaging material into origami bras and fanciful shoes, and combines hundreds of miniature monoprints into grand kimonos.
Perhaps my favorite item in the show (among more than 200) is a ziggurat-like coil of small daily illustrations, itself featuring more than 100 separate images, which was made by drawing on an old adding-machine tape. Like a journal, it neatly and humorously represents the artist’s little pleasures and worries, often recording food items (it’s clear Silvious likes snacks in addition to hot beverages) and sometimes augmented with wry comments, written in flowing block letters. As I circled this looping chain of charming notations, I was dizzied as much by their seeming endlessness as by the rotating motion of my path.