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Quarantine Confidential: Rebecca Krinke

Are you ok? What are you doing to stay sane & ride out the quarantine?

As someone who is naturally a recluse (although I CAN be social), it’s easy for me, so far, on the day to day aspects: moving all my courses to remote learning, fixing up the home office/studio, helping family and friends where I can, and taking walks: still safe! But on a more existential level—it’s truly surreal, sad, tumultuous, and beyond…I did look to Bill Murray as teacher (quite useful!) and re-watched “Groundhog Day” to see how he did with the same day over and over. (How many days did he relive that day? He sure got good on piano.)

Who or what has had the biggest influence on your career/work?

Louise Bourgeois and Walter De Maria…and so many, many others, but these two stand out.

What are you working on right now? What’s coming up for you on the calendar for the future? Anything you want to plug?

I am working on new installation ideas for my fall show at Rosalux, concurrent with Terry Payne, and for a show at White Bear Center for the Arts in January with photographer Amy Ballinger. I am amazed to report that I have an opportunity to create some kind of projection/installation/experiment at the Duluth Planetarium(!) thanks to great artist colleagues there.

Favorite tv show or movie?

The Netflix series “The OA” has made an outsize impact on me, for the power of the ideas around dreams and mysteries, the personal, the collective, more… It would be a memorable choice to watch or re-watch during these times.

Tell us a secret?


Rebecca Krinke has a multidisciplinary practice that works across sculpture, installations, and public art – creating spaces, objects, and encounters. She has used the body (animal and  human) and aspects of domestic objects and architecture as vehicles for exploring both wonder and terror.

A historic black four-poster bed at the MIA inspired Krinke’s current series of bed sculptures. This circles back to the beginnings of her work: her art originated with a powerful dream she had (as an adult) about a bear. Her sculptures evoke a mood of darkly marvelous fairy tales where strange beds, rooms, and cottages in the deep woods abound. This work and her larger practice is both highly personal and collective – as it asks questions about dreams, transformation, struggle, growth, beauty, stress, trauma, coping – what is private and what is public, what is spoken or unspoken, seen or

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