Born 1952 in Lincoln, Nebraska.
Lives and works in Chicago.
Rezac regularly investigates the systems and procedures of architecture – certainly his most important source of inspiration. Beyond volumetric concerns, what mostly intrigues him is the seeming infinity of thoughtful planar geometric structures, details, and evocative traditions of pattern and embellishment.
Like an architect, Rezac often begins his work with drafting tools and graph paper, with a sequence of drawings where he works out some core geometric feature that interests him. Although it is difficult to ascertain just what it is that triggers his desire to elucidate or extrapolate some kind of pattern, it is usually something familiar from the world around him: a detail from the molding of a building, the shape of a banister, a fragment of some manufactured object, a bit of clothing, a pattern on wallpaper, etc.
Rezac then subjects that source element or pattern to infinite developments and permutations. This ceaseless tweaking and adjustment cull out its essence, using an unexpected range of materials and colors that refine and clarify the object, making it pertinent and heightened.
Rezac’s concise and humble constructions at first seem so simple, they are modest in scale (considering the ambitious trumpeting of much modern sculpture) and look like finished products, but with no apparent function. Rarely the most immediately dramatic pieces in the room, they are rather stunningly subtle and imbued with a quiet fire that only eventually becomes all absorbing and might be missed with a too cursory glance.
By beginning the formulation with drawing, paper sheet size and even pencil, hand and ruler, encourages a focus and a near view that is body size. And it’s easel-painting size, a one-to-one experience, from which Rezac derives great meaning.