Since 1991, Bliss has exhibited in galleries and museums including The Philadelphia Museum of Art, Philadelphia Art Alliance, James A. Michener Museum, The Society of Illustrators Museum of American Illustration in New York, The Pennsylvania Academy of the Fine Arts, Coombs Contemporary Gallery in London and The Alternative Museum in New York.

Bliss' art has been commissioned by and featured in numerous publications including Time Magazine, The New York Times, The Village Voice, Penguin Books and The New Yorker.

Bliss describes working as an artist and single parent in a North Philadelphia Federal-Empowerment Zone for more than 25 years as "an informed challenge." Bliss' work depicts a visual innuendo that is as surreal, confrontational and beautiful as the environment she is a part of.


"Bliss achieves a kind of raw honesty that transcends the conventions of representation."
Robin Rice

"Her images can be frightening and whimsical at the same time... as mesmerizing as Bysantine icons."
Edward J. Sozanski (RIP)

"Rachel is what I like to refer to as 'the real thing.' Her work, is rugged and brave..."
Richard Torchia

"If there were such a thing as 'Method Painters,' she'd be the Brando of the school.
Andrew Mangravite

"If one detects or glimpses violence in a piece of hers, it isn't accidental or ornamental: it underlines the state of affairs in America - personal and public, urban and rural."
Yusef Komunyaka

"When viewing Rachel Bliss's work, we must go beyond the obvious attraction of the images themselves and explore the dynamics--both psychological and cultural--of their genesis. In doing so we will learn much about art, the world we have created, and indeed ourselves."
James Dickinson

"Of course, as a fan of Rachel's pictures, when I look at them I don't see either works of art or illustration. I see horses and antelopes and bison drawn on the wall of a damp cave. The authority her works convey is the record of a soul in transit through an absurd world. And that authority transcends all the labels an uncertain world may want to impose on them for the convenience of an art market that, reflecting reality, has become absurd itself."
Brad Holland