Cape Gallery 2000
... Rachelle has always been intrigued with the potential of oil paint, which she does not believe is being explored to the full. With the example of Rembrandt, Leonardo and Turner, she has successfully linked the past to contemporary art, creating a world of great imagination and depth. I have only begun to penetrate the mysteries of oil, the endless glazing produces unbelievable depths. It is as though the surface becomes a window into the depths of my very being. Indeed, one becomes aware on looking at these works, that Rachelle is penetrating the depths of our own psyche and soul an experience that can be somewhat daunting at times.
Rachelle's perception of colour is that of a visionary. She sees images with an 'inner eye' through which visionary colour imagery is not perceived simply as a film rolling before the eyes of the seer; rather the seer participates in the image. Charged with a radiant energy the vision touches and empowers the seer, who may not always directly understand the import of the message.
'The spiritual correlations within the vision are not systematically worked out but roll forth in a stream of images, colours, lights, symbols, parables and correspondences, which for their part are again interpreted through new images, myths and parables. Still a basic schema is apparent; the colour vision interprets itself the seer does not, for instance, subsequently interpret it. The self interpretation of the vision is its subject, and all the visions elements colour, fires, lights, substances have a spiritual meaning appertaining to and fixed in them. Ernst Benz'
The seer empowered by this vision channels the content and transposes it into words or paint. This can be a revealing experience often leading to a greater level of self- realisation.
Her massive canvasses are cut by penetrating shafts of light, colour and light fuse to give a metaphysical dimension and depth to the surface of the canvas. Breakings from these abstract and intellectual structures are her sensitive poetic and emotional visions. Ethereal and transcendental; Protean beings from the ancient world emerge in an atmosphere of flaming light or reflected in the shining white alchemy of the soul:
... The preparation of the paints in medieval times was a professional secret of the painters and dyers and entailed the knowledge of vegetable, animal and mineral substances from which paint could be obtained. Colours took their name and value from precious gems, sapphires, rubies and emerald for instance. The connection between the production of paint and alchemy was not yet ruptured. Occasionally new colours were produced as a by-product of alchemical processes as for instance Prussian blue ...
Visionary colours of the inner mind display heighten qualities of light and luminosity - they glow like melted metal, they radiate, they shine, they fluctuate phases of light intensity.
Rachelle's vision has become reality on canvas - a reality that speaks of a courageous search for Truth. We have been given a gift of this vision to see into a world that would otherwise only exist, for the most, in dream, to be forgotten on waking - knowledge that we have long ago lost conscious touch with - it rests in the primeval graves of our ancestors, and lies safely buried deep in our own psyches.
Melvyn Minaar art critic - Opening speech Sasol Art Museum 2012
Odyssey Issue 2, 2013, Rachelle Blomberg Feature
Spirit in the Mass - A speech by Beezy Bailey, 2006
Extracts from articles by Trish Baum for Fine Living, Renaissance, Kulula, 2004 - 2005
Cape Gallery 2000
Extracts from an article by Mary-Ann Hart
Press Release Primart Gallery l997
Critiques early 1980's
Odyssey Magazine 1980