Raychelle Mosley
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Artist Statement
I create immersive installations that use projection, light, and sculptural forms to examine my own emotional responses and invite viewers to question theirs. Having struggled to articulate my thoughts and emotions for most of my life, I’ve always relied on visual interpretation to understand how others feel. This challenge with articulation has shaped both my life and my practice. My work evolves slowly, intuitively, and often without a clear verbal rationale—mirroring the way I navigate my internal landscape. I rarely begin with answers; instead, I make the work and learn from what it reveals back to me.
Much of my process begins with documenting faces—animals, humans, and my own—as a way to decipher emotion. I read the micro-movements of a face to make sense of what it might be expressing, but when the emotion becomes unreadable, I am left with discomfort, confusion, or uncanniness. That ambiguity draws me in. These recordings become the basis for projection mapping, where I cast distorted or exaggerated expressions onto objects, mirrors, and built environments. I first became fascinated with projection, then realized how seamlessly it interacts with physical form. Because I love working with my hands, sculpture naturally entered my practice, creating a hybrid space where digital imagery and physical objects inform one another.
Reflective surfaces—mirrors and metallic materials—are a recurring element in my installations. Mirrors initially allowed viewers to see themselves inside the emotional landscapes I built. More recently, I’ve shifted to materials like electrical EMT conduit, which blur and distort projected light in ways that feel more alien, more uncanny. I pair these with softer materials that hold and embody emotional presence, transforming representations of living beings into objects that feel simultaneously scientific and spiritual.
My aesthetic sensibilities are influenced by science fiction, robotic forms, technological speculation, Japanese animation, alien narratives, and even the surreal communal energies of rave culture. These influences merge with my emotional curiosities, shaping environments where intimacy, distortion, and ambiguity coexist. My installations live between the digital and the physical—not to resolve that tension, but to explore how mediated images and tactile forms together shape emotional experience.
I don’t always know what my work represents at the start, and my interpretations often shift over time, even for a single piece. The process of creating—of pulling something out of my mind, giving it form, and finally being able to look at it—is what allows me to understand it. The finished work becomes a mirror to my internal world: something I can experience, question, and attempt to make sense of. Even when I don’t fully understand it, it is still me, made visible.