Rebecca Fontaine-Wolf
“The reflections of the segmented body explore contemporary concerns with self-image and digital representation, which can lead us to feel a deep sense of fragmentation in much the same way as mirror-gazing can have a dissociative effect on our sense of identity.”
Rebecca Fontaine-Wolf is an interdisciplinary artist who works primarily with mirrors and self-portraiture in order to explore her experiences of womanhood: the visceral realities as well as their societal implications. She developed a unique physi-digital mixed media technique in order to create works which incorporate her concerns around identity, self-image and digital representation within the working methodology.
Fontaine-Wolf holds a Master's degree from Wimbledon College of Arts and a BA in Fine Art from the University for the Creative Arts. She received the Chelsea Arts Club Trust Award and was a finalist for the 2024 Sovereign Portuguese Art Prize. Her work is held in prominent collections, including the Berardo Collection, Coleção Norlinda e José Lima, (Portugal) Collection De Gambs (Germany), and Standard Chartered Bank (UK).
She is the co-founder and co-director of InFems, a feminist collective curating exhibitions like Lost Girls at Flowers Gallery during Frieze Week 2023, featuring artists such as Ai Weiwei and Tracey Moffatt. Fontaine-Wolf has exhibited at institutions including the V&A Museum, Royal College of Art, and Haus Kunst Mitte, where she held her first institutional solo show in 2024.
Her work has been featured in Forbes, The Guardian, and the BBC, and highlighted in Hauser & Wirth’s Herstory. In 2022, she was commissioned by Carolina Herrera and served as vice-president of the Society of Women Artists.
Rebecca Fontaine-Wolf works primarily with mirrors and self-portraiture in order to explore her experiences of womanhood in a digital age: the visceral realities as well as their societal implications.
Fontaine-Wolf integrates self-portraiture to explore her own experience of the human condition, bringing a quality of intimacy to her work. The nature of the images created however - faceless, distorted and almost otherworldly - allows for these images to extend outwards from the purely personal into the realm of the archetypal.
The use of mirrors in composing the images draws on Fontaine-Wolf’s ongoing interest in Vanitas symbolism and Lacanian mirror theory, whilst also referencing her interest in mysticism and the occult. The reflections of the segmented body explore contemporary concerns with self-image and digital representation, which can lead us to feel a deep sense of fragmentation in much the same way as mirror-gazing can have a dissociative effect on our sense of identity.
She uses physi-digital processes to reflect these interests. Traditional media and techniques are used alongside digital and experimental uses of materials. These continually feed back into each other creating multiple layers. A process of creation and destruction, using both chance and control.
