Rachel Feinstein’s art is defined by dualities: her investigations of masculinity and femininity or good and evil are echoed in her formal explorations of balance and precariousness or positive and negative space. Her subjects, too, are drawn from oppositions and tensions: religion and fairy tales, high European craft and low American kitsch, her needs as an artist and the needs of her family. She explores these conflicts through characters borrowed from biblical and folk sources as well as objects from material culture, deconstructed and reimagined, suggesting that there is no fact without fiction, light without darkness, tranquility without chaos. Feinstein’s process similarly embraces divergent methods and materials. Her three-dimensional objects evolve from two-dimensional sketches translated into small handmade maquettes, which are then exploded to larger-than-life-size scale and fabricated in wood, metal, or ceramic. Traces of an object’s hand-drawn origins may survive in a monochromatic palette, compressed depth, or sweeping, organic lines. Her polychrome figures are as painterly as they are sculptural, composed with bright hues and subtle tones built up with layers of pigmented synthetic resin.