As a painter I explore themes of femininity, boundaries, belonging and place. I depict vibrant and dynamic cloth shapes that hover and flow through austere urban landscapes.
In a review for Apéro International Catalogue, E.E. Jacks accurately describes my work as “dramatic and lyrical…stretch[ing] past the paint itself, moving from observation into the abstract. Rasmussen emphatically delivers this visual flux, in a deliberate and striking way...The revelation uncoiling before the eyes is one that states, the origin of this work lies somewhere beyond the obvious.”
Indeed, my work is influenced by my nomadic past, the colors and patterns of my international youth, and the striking California light of my adulthood. I distort space, light, and distance to create a dreamlike, almost cinematic environment that evokes a sense of nostalgia and longing. The disembodied garments capture our attention with the remains of an extraordinary presence. We are drawn into the scene, but left wondering what is going on outside of the frame. The disorientation of this intimate, sometimes familiar, captured moment is indicative of both transition and memory. Transition leaves room for speculation of alternate realities. Memory is changeable and fleeting, so reality also becomes unreliable.
The notable absence of any human presence, the in-between spaces and the mundane moments challenge us to reassess our preconceived notions of such binaries as male/female, presence/absence, belonging/otherness and memory/reality. We are left wanting just a little bit more.
Artistic influences are Edward Hopper, Richard Diebenkorn and Bosnian painter Safet Zec. I'm also inspired by the words and storytelling of writers like Maya Angelou, Neil Gaiman, Barbara Kingsolver and Sandra Cisneros; I paint to capture how their words make me feel.