Rust as Muse: Inside Stephen Rybacki’s Oxidation Art

The Pull of Rust

When viewers encounter Stephen Rybacki’s work, their reactions are almost always the same: curiosity, followed by a step closer. His pieces don’t reveal everything at once...they invite exploration.

“The material is typically what draws viewers to my work first, especially at the fairs, when I show to 10,000 people between a four-day period. It's interesting to see them walk by my booth and what typically pulls them in first is the oxidation. It isn't something they typically see, and they want to learn more. They come up close and they know that it's rust but they're trying to figure it out.”

Rust isn’t something most people associate with fine art, but for Stephen, it’s a gateway- a way to get people to slow down and notice the overlooked.

Discovering Beauty in Unlikely Places

Before metal and oxidation entered the picture, Stephen worked with layered paper, sanding and tearing to create textured surfaces. What began as a paper-focused practice eventually evolved into something deeper.

“I think early on, I was just interested in finding beauty in unnoticed places. I was using a lot of layers of paper in my art before I was experimenting with metal. I would layer multiple layers of paper and tear them away by sanding or ripping them away, almost like Mark Bradford's work. Maybe not so much billboards or pop art, but it was more about texture.”

It was the edges of rusted metal that caught his eye next.

“This ripping and tearing was very similar to rust and oxidation and how a piece of sheet metal has these edges that almost resemble ripped paper. So, I think it was that connection that kind of brought me to experiment with sheet metal first.”

That realization marked a turning point, leading him away from purely paper-based work and toward a medium that carries its own history within it.

Surprise, Texture, and Time

Stephen’s work is built on a dialogue between control and chance. While he creates the conditions for oxidation to take shape, the final outcome is never fully in his hands.

“Sometimes I pull up the metal and it's this beautiful piece that's uncontrolled. It's slightly controlled by how I put the water or vinegar solutions or what the weather is like. When it's colder, it tends to rust more vibrant and slowly, over a longer period of time, like two days, I'll get some really dynamic colors or shapes with the rust. So, there's some variances and it's slightly controlled, but there is a surprise element to it that's really interesting with my process.”

This balance mirrors the unpredictable nature of rust itself. Patterns emerge slowly, shaped by time, temperature, and material...creating effects that are both organic and striking.

“Sometimes it's like what they say in ceramics- they call it the gift of the kiln. It's like, you put your glaze on a pot and you open up the kiln after the firing and you don't know what it's going to look like at the end. It's absolutely beautiful sometimes. Sometimes it's all messed up.”

Zooming In

Stephen’s relationship with his work happens up close. Instead of focusing on the piece as a whole, he often studies small sections where oxidation has left its mark.

“I hope that others see my work as an invitation to engage in the often-ignored details of our surroundings, encouraging a pause to appreciate the details, authenticity, and beauty in imperfection. That's from my artist statement, and it's just something that I really appreciate when I'm in my studio. I don't really step back and look at a piece as a whole. I like to look at the small sections, a six-inch-by-six-inch section of my work, typically. That's my favorite- to get up close, touch it, and feel it and look at the imperfections and appreciate them.”

These intimate moments in the studio shape the soul of each piece. The surfaces aren’t polished or manufactured- they’re honest records of interaction between material, time, and intention.

Inspiration All Around

For Stephen, inspiration often arrives in everyday moments.

“My inspirations shift around a little bit. I often take detailed photos of the backs of trucks in traffic on the freeway or a rusty metal gate for inspiration of the oxidation. Sometimes it's a color palette, overall modern composition. I'm inspired by other artists, of course. I typically will look at other artists for colors. Mid-century modern architecture and furniture also inspire me. I try to use images of mid-century furniture and living rooms when I superimpose or place my artwork in rooms on my Instagram specifically so people can visualize my work in rooms. I think my art can fit in a lot of different styles of design or homes, but I personally like it in mid-century homes.”

This blend of industrial grit and mid-century warmth gives his work a versatility that resonates with collectors and design lovers alike.

Looking Forward

Stephen’s creative path is ongoing, and he approaches it with curiosity and patience.

“Regarding my current journey in my studio, I really like to just gain exposure right now. I'm trying to get out there and meet new collectors. I have so much more to work with in my studio. It's endless paths of different texture, various surfaces, and different paper materials. There's so much more I can work with paper; I want to get into more Japanese types of paper, washy paper, mulberry paper. There's a lot of different layering techniques I can still do and different fabrics I still want to use. I understand it's a long journey and I'm not really in a hurry. So just trying to take it one step at a time.”

Experience Stephen’s Work in Person

Rust. Texture. Time. Stephen Rybacki’s oxidation artworks are currently on display at Create Gallery and Frames in Garden City’s Art District. These are pieces that reward a closer look- the kind that stop you in your tracks.

Create Gallery and Frames

3520 W. Chinden Blvd. Garden City, ID. 83714

Open Tuesday-Saturday, 11AM-6PM

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