Rita Valley. For greta, 2022. MIXED MATERIAL: PINK CAMO COTTON, PEBBLE-GRAIN PLEATHER, FELT, VINYL, COMMERCIAL IRIDESCENT PLASTIC FRINGE. 40.98 X 30.98 IN
Bob Keating’s sculptural work invites contemplation through weight, texture, and silence. His use of stone, steel, wood, and quartz speaks to a timeless connection with the earth—each element chosen not just for its physical presence but for its symbolic resonance. Keating often assembles his materials in a way that feels ceremonial or sacred, as if the work is a remnant of a forgotten ritual or an offering to the natural world. In Keating’s hands, these raw materials hold space, they carry the memory of geological time and gesture toward permanence in a fast-moving world.
Rita Valley’s work, by contrast, is unapologetically confrontational. Working with textiles such as cotton, satin, vinyl, ribbon, and linen, she reclaims the language of domestic craft to deliver piercing social commentary. Valley subverts expectations, turning the softness of fabric into a sharp-edged critique of gender roles, consumer culture, and global dysfunction.
Though Keating and Valley speak in radically different visual languages, their work intersects in its honesty and refusal to cater to aesthetic trends. Both artists push against surface-level interpretation: Keating through stillness and presence, Valley through boldness and disruption, both create spaces for viewers to pause, reflect, and reconsider what art is capable of saying—and how.
What is impacting your practice at this moment?
Bob Keating: One thing that has been happening with me as far as making sculpture I'll tell you about. This new thing has happened during the past three sculptures. When I least expect it I'm eliminating alot of the material that was planed to be in the sculpture. It is kind of like getting rid of chatter and allowing the sculpture to speak for it self. My response is 'ah yes', and satisfying. It's kind of like my hands aren't all over it any more and it can stand on its own.
Rita Valley: Well, as anyone who know me knows, I am deeply and profoundly affected by issues of social justice, income disparity, human rights and the death of our democracy. And goodness knows: there’s plenty to be concerned about right now! I am also preoccupied with creating beautiful work so I attempt to walk that fine line between delivering a message without being over-bearing and heavy handed. Believe it or not, working with political content helps me to process and manage my rage.
What work are you most excited to make next?
BK: Well for the next month although it's not very exciting I plan to power wash some of my outdoor sculpture. Then give them a fresh coat of paint. Of course everything happens in time and that includes being excited about what I am working on next. This excitement takes its own time too.
First, the seed of what becomes a sculpture begins to develop in me. I pay attention to it as it develops, being considerate of it's visual development and being respectful that its visual expression isn't impeded by any other form of expression, like language for example. This isn't a stage of development I can share with anyone. As it develops though, I can tell Rita something is happening in the vaguest terms.
As you can see I'm very invested in the visual development of the sculpture and not defining those developments with conversation. Is this exciting to me? Yes it most certainly is. Sometimes the making of the sculpture only takes a couple of week but the build up to it much longer.
RV: I am very excited by the 3 dimensional “cake” I am creating for “The Women Pulling at The Threads...” which has me playing with the inclusion of more sculptural elements. I liked the “engineering” of bringing a piece off the wall, or simply including more depth and structure to fiber work. We’ll see where that takes me!
Bob Keating. Shelf Life #6, 2024. STEEL, STONE, QUARTZ STONE AND WOOD. 7.01 X 32.01 X 22.99 IN.
What first came to mind when you think of July? A personal connection?
BK: July makes me think of Rita because it’s her birthday!
RV: My birthday falls in July, so I always look forward to celebrating another year here on Earth and all the art-making possibilities to come my way. It’s also a hot and outdoorsy month, which gets me out into my “outdoor studio”; that is, my garden. And having the opportunity to be a Featured Artist (along with my partner Bob Keating) is a very special birthday present indeed!
Rita valley. Revenue stream, 2018. MIXED MATERIALS: PIXELATED DENIM, TULLE, SATIN BROCADE, BEADS, PLEATHER. 82.99 X 62.52 IN.
Bob, is there any material you’ve been interested in working with but haven’t had the chance to explore yet?
BK: A friend has offered me some chrome antennas. That may be something new.
Bob Keating. Shelf life #2, 2024. STEEL, STONE, CONCRETE, QUARTZ STONE AND WOOD. 14.02 X 15 X 9.02 IN.
When you select a fabric for your work, how do you choose ones that reflect or connect with the message you’re trying to communicate?
RV: Hmmm… sometimes I buy material/fabric “on spec”. That is, I have no idea what I’m going to do with it, but I like the color or texture or pattern and know someday, I will find the perfect use for it. Most of the time, I start with a text so I “see” the words and they suggest fabrics: vinyl, pleather and the like. So then I go seeking a specific element: sequined leopard prints or shiny iridescent camo starring in an upcoming piece. I like opulence: satins, brocades, toile, silks, heavily textured metallics… over-the-top evocations of wealth, sensuality, … and tackiness!
Rita Valley. Monetize me, 2018. MIXED MATERIALS: COTTON, TOILE, GOLD TONED PLEATHER, 99 DIMES. 42.01 X 60.98 IN.