Rebeca Méndez




2013. Photographic essay from Svalbard, in the high arctic. ‘In 2010 Rebeca Méndez traveled to Longyearbyen, the largest city on the Norwegian island of Spitsbergen in the Svalbard archipelago to join a group of international artists, scientists, architects, and educators in an Arctic expedition. Participating in a three-week residency program aboard the Noorderlicht, a two-masted ice-class sailing vessel, the group collectively explored one of the most remote and unusual places on earth.’ — Alma Ruiz, senior curator, MOCA.

Been There, Done That


New photographic series where I visit ‘natural landscape tourist sites,’ find the most photographed point of view of the site, and hastily snap a 360° view of the landscape. Jump back in my car and drive to the next natural landscape tourist location. My interest in this series is to explore how cultures express themselves through the style of nature they produce at a given era.

Weatherscapes Series


Weatherscapes is an artwork series exploring the relationship of the weather and the landscape as it relates to human scale. Weather­—fog, lightning, rain, ice, clouds—inhabits the otherwise vast abstract space between the body and the distant horizon. Weatherscapes capture a more compact environment, one that the body can engage with physically, creating a continuous and intimate ensemble between the body, the weather and the landscape.

Here Over There


Here Over There is a photographic series of straight-on portraits of hotel beds that began on the island of Chiloe, Chile, on December 23, 2002 and continues to this date. Working in a documentary style, so neutral in emotional values that is almost anthropological, I photograph the beds I sleep on during my travels with consistent parameters—the image is taken as soon as I awake, on the first morning of my stay, with the available light, with a hand held camera, and from the same point of view—my height.

There Is No There


There Is No There, 2009. Triptych. Each panel: 20h x 13.33w. Archival inkjet print, plexiglass, white silkscreen ink. There Is No There, a visual and verbal loop, structured as a triptych to emphasize the organizational logic of both the photograph and of language. The work attempts to affirm the existence of something and, at the same time, to negate its position in time and space. It focuses on issues of ambiguity and indetermination.

About To Happen


About to Happenconsists of isolated single still frames of her 16mm film shoot throughout Iceland. In Dettifoss 001, Méndez captures an instant of Europe’s largest waterfall—500 cubic metres per second, and in Brekka 001, a moment of giant rye grass being forcefully blown by the wind.

Blue Multitude


Photographic work investigating the vanishing of the line dividing earth and sky.

Tree by Tree, from Sea to Mountains, 2008.


Rebeca Méndez was commissioned by the Los Angeles County Arts Commission to create an art installation for the Los Angeles County Registrar-Recorder/County Clerk warehouse in Santa Fe Springs, Los Angeles County, CA. Reviewed by The Los Angeles Times

Altiplano, 2007


Rebeca is working on a new photographic series called Altiplano documenting landscapes in the Altiplano in Chile, 5000 meters above sea level.

Homeland # 3


’Méndez, in her Homeland series, explores a sense of ambivalence—while her panoramic images allude to the sublime in nature, they simultaneously reveal their synthetic process of construction. Incorporated in each landscape is a short line of text capturing a sensation, memory, or experience triggered by the landscape, including references to sustenance—for example, the words ‘till the last tree’ over an image of cows grazing.

Homeland # 2, Series, 2006.


Homeland 2, 2006, is comprised of six sculptures: Homeland, Peace White; Homeland, Low Green; Homeland, Guarded Blue; Homeland, Elevated Yellow; Homeland, Hight Orange; Homeland, Severe Red. Materials: Paper, Plexiglass and Anodized Aluminum. Each of six: 15 × 15 × 40 inches (38.1 × 101.6 × 38.1 cm). Placed 10 inches apart for a total area of 40 × 140 inches. Edition of 3. Installation view at Second Natures, Eli and Edythe Broad Art Center, 2009.

Barentsburg, Svalvard