Rosalind Nashashibi (b. 1973, Croyden, United Kingdom) is a London-based artist whose works explore the dynamics of human relationships. Capturing small actions and subtle moments of intimacy in her films, Nashashibi’s acute observations and associative sequences communicate abstract ideas, such as power and kinship, as they relate to her subjects.
In Vivian’s Garden (2017), Nashashibi depicts Vivian Suter and her mother Elisabeth Wild, two artists and Swiss–Austrian émigrés living in Panajachel, Guatemala. The film documents their coexistence with the indigenous Mayan workers who cook, clean, and assist them with the day-to-day necessities of their remote existence. Their handcrafted matriarchal compound is fused with their creative work; however, despite this refuge, the women are nevertheless vulnerable to political, social, and ecological pressures. The contrast between their interior lives and the surrounding world is accentuated by their relative isolation. Together, the two women negotiate extreme weather conditions and instances of both hostility and kindness from their indigenous neighbors to sustain an intimate and intensive life of artistic creation.
Through March 2020, a number of Suter’s paintings are installed on the High Line at Gansevoort St., as part of the group exhibition En Plein Air.
Lead support for High Line Art comes from Amanda and Don Mullen. Major support for High Line Art is provided by Shelley Fox Aarons and Philip E. Aarons, The Brown Foundation, Inc. of Houston, and Charina Endowment Fund. High Line Art is supported, in part, with public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and from the New York City Department of Cultural Affairs in partnership with the New York City Council, under the leadership of Speaker Corey Johnson.