About // CV

Rebecca Marimutu is an interdisciplinary artist and photographer working to reimagine the practice of portraiture. Born and raised in New York City and informed by critical race theory and contemporary discussions around the dimensionality of the photograph, she works by concealing, obscuring, and protecting that which lies within the frame. Her work explores themes of self, identity, and material tactility through paper sculpture, collage, and audio-visual abstraction. She received her MFA degree in Photographic and Electronic Media at the Maryland Institute College of Art in 2020, and her BS in Mathematics and Economics from the University of Albany with a minor in Studio Art.

She is currently an adjunct professor at Towson, MICA and Loyola University.

Her work has been shown at the Waller Gallery, ICA Baltimore, and Eubie Blake Cultural Center in Baltimore MD


Portraits, Contact (2022)(WIP)

Portrait(s), Adhered. 2021

At the start of 2021, I started my series “Portraits, Adhered.” Using the nontraditional photographic methods of shooting digitally and directly mounting the self-portraits onto a wooden board via wheat-paste, PVA glue, clear acrylic gesso and/or staples. Through these methods, I am looking to disrupt the material hierarchies in contemporary image and media consumption. During the period of self-isolation, I’ve been making this ongoing series as a way of self-examination through treating the image of myself as a landscape for abstraction and deconstruction. Working in this style has led me to expand on the sculptural potentials in photography. I am interested in abstraction as a means of protest, insofar as it breaks through ways we are often allowed to see ourselves in Contemporary art. The forms through which we are allowed to view images of our Black selves are often determined by voices, opinions, and structures that do not look like us. My intention is to use abstraction to both deconstruct and obscure the image of the self—the image of us and the pressure to be represented. 

Portrait (s), an  Exploitation and Repair
2020 - Thesis

Photography provides the viewer space to look on-to another experience through the safety of their own -- standing outside the frame, and other those who are within. Marimutu works to subvert and orient this space of contemplation that photography provides, by blocking the gaze of the viewer onto the viewed. Her work conceals and protects that which lies under the paper, only showing the borders and edges of what was -- in the process, guiding the viewer to question their role in this obfuscation.Portrait(s), an exploration of exploitation and repair, consists of large photosensitive Kraft Paper sculptures that are intentionally composed to absorb the surrounding environment onto themselves as they weaken and decay.

By creating and repairing these portraits through accessible, durable, and charged materials, Marimutu works to address and remove the material and political hierarchy of picture-making, and imposes her own.Untitled is an early response to the pandemic. Working through old work, Corners (2016) and new work Exploitation and Repair (2020), Marimutu was continuing her exploration about the spaces she inhabited — institutional and educational spaces from her archive — along with the current discussion about her place within them.New Spaces (2020) is composed of works in progress that explores the intersection of space and expansion, the distortion of the lens, and the manipulation of the digital and racial landscape that we are a part of.

Through these, Marimutu works on repairing and attaching these spaces and imagining them together.In the Home (2020) addresses how the current pandemic has centered around discussions about the work of being anti racist in domestic and family-focused spaces. Discussions about race have become more internal, as our social access to people continues to shrink. The past year has been a time for introspection on how to personally confront white supremacy, as well as an extended moment to educate ourselves about how we got here. As an artist who has long been working on the tokenization of BIPOC in arts institutions, Marimutu also hopes to extend that critique to the space of our home.


Work From Home 2020

2. September


3. October, 2020


4. November, 2020

Scuptures, Sheet Plastic - Projection