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Winn Rea: Topo-Shift 2, Art Inspired by the Adirondack Mountains

"Adirondack grit and boldness come through Rea's pieces. The intricate surface interactions she presents rest on a tacit reclamation of multiple male-colonized territories: the rugged cartographer, the master craftsperson, the patient naturalist. Rea is all of these. Like the artist, her work resists expectation--topo maps that refuse to be folded neatly into the back of a guide book until needed."

Full essay by Joel Avery available by contacting the artist: Winn Rea


Art on the Farm and Out in the Open: Contemporary Sculpture Installations On View at Saunders Farm through Oct. 26

"Also installed high up in a tree is Double Arbor Helix by Winn Rea. Found in a wooded section of the farm it was a suprise to come upon, subtle enough to be overlooked. Composed of 20 or more tree branches and made to look as if they had been shot straight through the tree, the piece resembles a cartoon signpost--except the branches point in all directions at once. In fact they spiral around the tree in an intentional pattern inspired by a DNA helix, and according to the artist, "explore the fact that each tree has a unique DNA that is suprisingly similar to human DNA."

Amy Lipton, Art on the Farm and Out in the Open, Phillipstown.Info, Cold Spring-Beacon, New York, October 9, 2013. "10 Must See Artists at The Value of Water, A Conservationist Art Show in New York

"One of the more explicitly environmentally conscious works in the show, Winn Rea dismantled hundreds of plastic water bottles and sliced them into thin spirals, hanging them upside-down from the ceiling so they cascade like a waterfall (or a melting glacier). The effect is stunning, particularly placed among the Cathedral’s bowed arches, but it provokes disgust as well—at the waste created by our voracious and earth-debilitating habit for buying water from the bodega. The sculpture’s weightless suspension directs the mind naturally to the ocean, too, and the tons of plastic bottles floating there. But then it once again captures with its beauty, reminding us that water is one of our most visually beautiful elements."

Julianne Escobedo Shepherd,10 Must See Artists at the Value of Water, A Conservationist art Show In New York, 2011.


New York Times

"Falling Water" is an installation by Winn Rea, a sculptor and conceptual artist from Long Island City who is troubled by threats to the environment. The installation consists of more than 350 water bottles sliced into spirals and hanging from the ceiling of the Huntington gallery to simulate a waterfall....

Ms. Rea began collecting water bottles last summer with no fixed idea of what kind of artwork to make. The choice of a mundane, ready-made material was something of a departure; all her previous sculptures and installations had used natural materials. But her basic inspiration was the same: to make something that would invite viewers to think seriously about nature and humanity's impact on the environment.

By getting people involved in recycling plastic bottles for the installation, the artist is actively promoting her environmental message. But equally effective is her poeticizing of the mundae, using visual beauty and spectacle to bring causal viewers in off the street to look at the work. During the brief period that I visited the gallery on a weekday afternoon, almost every person who walked past the space stopped to contemplate the installation. About half the passers-by came in....

The [installations] here suggest a strong democratic impulse running through environmentally-conscious art. They do so with elegance and poetry."

Benjamin Gnoccihio, Alpan Gallery review "In Beauty and Spectacle, Focus on Man and Nature," Sunday, December 14, 2008, LI .p 10.


New York Times

"This is the best juried show to come down the pike in a very long time. THe art dealer Holly Solomon and her gallery's director, Tom Farmer, are to be congratulated for their excellent choices.... Winn Rea took an award of excellence for "sitting on Sky Holding Stones," A floor sculpture that combines real stones with a painted evocation of cloud flecked sky. The piece suggests an act that defies the laws of physics but becomes possible through concpetual gymnastics that render the stones weightless and the sky solid."

Hellen Harrison, Heckscher Museum review: "A High Quality Show that puts No Limits on Media," Sunday, March 30, 1997, LI.


New York Times

"Installations by seven artists occupy sites inside the 1912 [Carriage House] structure. The artists, chosen from nearly 70 applicants, have responded creatively to the building's physical layout.... Winn Rea's,"Reflecting Room: Pool, Litmus, Well," in which a scrim curtain separates a dark, oil-filled area from one filled with water and pebbles. Soaking up some of both liquids, the transclucent fabric mediates between clarity adn opacity, purity and pollution."

Hellen Harrison, Islip Museum Carriage House Project Space review: "Works on View Both Inside and Outside," Sunday, August 18, 1996, LI p 12.Í.