Giselle Rosenthal

Let it out
Mixed Media (sculpture)
70 x 54 x 31 cm

Giselle Rosenthal

I like to see rejection as a tool to learn about how I can improve my work; however, at times rejection can feel like such an enigma since it rarely comes packaged together with useful feedback. With that same breath, it’s no secret that there is a pattern in the art world where female perspectives are often overlooked or undervalued. This in turn has always made it difficult for me to digest rejection because it’s often not possible to know whether the rejection was the result of societal norms and gender stereotypes or if it stemmed from the quality of the work itself. This is why I find it important to participate in exhibitions to see how people are receiving the work.

Exhibitions like the Salon de Refusées are conducive platforms that showcase the female experience and give essential space and attention to this dialogue. With time, I hope this will pave the way for the female gaze to become a norm instead of a concept that needs to be highlighted due to its lack of presence. Moreover, participating in the Salon de Refusées feels like a wonderful opportunity to connect and learn from other artists as well as a great way to work towards a more inclusive art world.

– Giselle Rosenthal

Giselle Rosenthal’s “Let It Out” is a mixed media sculpture that embodies the artist’s playful experimentation with diverse materials. This particular piece, with its stark reds and natural wood, contrasts the manufactured with the organic, encapsulating Rosenthal’s exploration of dichotomies such as identity versus impermanence and nature versus artifice. Her process, embracing spontaneity and the potential for material failure, mirrors the fragility and resilience found in nature and human endeavors.

Giselle Rosenthal’s work is not just an aesthetic pursuit but a philosophical and ecological inquiry, examining the tensions and harmonies between the constructed world and natural existence. Her sculptures act as physical dialogues reflecting the complexities of our times, where ecological considerations and social narratives intersect. In the broader art historical context, her sculptures are a continuation of the dialogue on materiality and form, pushing the boundaries of sculpture as a medium and challenging the viewer’s perception of space and substance.