Rosalyn Bodycomb’s paintings stand as both a respite from and a space in which to contemplate the chaotic world around us. Her paintings capture the deep intricacies of the natural world and beckons us to imagine our way in. Through measured mediations of the clockwork movements of the New York and D.C. subways, Bodycomb is able to freeze time and consider what Albert Einstein famously described as, "...the distinction between past, present and future [being] only a stubbornly persistent illusion."

As Bodycomb states, “This is a difficult concept to grasp because time for us is experiential. We're certain that there's a chronological order to events that cannot be flipped on its head willy-nilly. However, possibilities abound if we step away from this linear narrative. When we look for cracks in the Newtonian Cosmic Clock idea, where time ticks by at the same rate for everyone everywhere, we find them. Physicists suss them out in theories, poets in words, and painters in images askew. All the dimensions of space, and all the dimensions of time exist in the “block” universe simultaneously. In this chunk of space-time everything that has happened, is happening or will happen continues to be so. Then is now, now is now, when is now.”

Rosalyn Bodycomb is the recipient of the Joan Mitchell Foundation Painters and Sculptors Award (2005), a John Simon Guggenheim Memorial Foundation Fellowship (2007), and a Pollock-Krasner Foundation Grant (2009.) She was born in Honolulu, Hawaii and spent her childhood in Southern California. She earned an M.F.A. from Texas Christian University, Fort Worth, Texas and has exhibited nationally including; The Grace Museum, Abilene, TX (2017), the L9 Center for the Arts, New Orleans, LA (2013); The Durst Organization, New York, NY (2012); Chashama Foundation, Brooklyn Army Terminal, NY (2011); Salomon Arts Gallery, New York, NY (2011) and Nohra Haime Gallery, New York, NY (2010). Bodycomb lives and works in New York, NY.