My work process is highly intuitive and relies on an interactive dialogue with the materials at my hand and the possibilities in my head. I use the energetic/magnetic variety of materials—sometimes, at the edge of existence—to resurrect a visual metaphor in sculpture. The work often progresses through many iterations before being realized for exhibit.
When I was finding my path to becoming an artist, I read a book by Carl Jung that resonated within me:
The artist has at all times been the instrument and spokesman of the spirit of her age. Their work can only be partly understood in terms of personal psychology. Consciously or unconsciously, artists give form to the nature and values of their time, which in turn form them.
I knew it was my path, and because of that I have always seen my role as a conduit for translating universal energy into material conversations.
I love the connecting conversation that my work provokes and enjoy the feedback. Yet, getting ready to show work is always stressful for me. The dialogue shifts from a uniquely personal and nourishing one to a very public and hence “judgey”arena that I know is important as a vital gift to humanity. Visual art is quiet for the artist, for the viewer and patron. If we are receptive, it makes a connecting vibration in our hearts.
I was born in Buenos Aires, Argentina, to English parents who escaped from China just before the Japanese invaded. I became a US citizen when I was 14 very aware of the toll WWII had on my family and my parents homeland. Encouraged by my mother’s artist soul, I have been making art ever since I can remember, and I am particularly struck by memories of sculpting sand on the beaches of the Jersey shore.
My fascination with how things work and the seductive forms and
colors of nature led me into science culminating in a pre med BS. Physics, philosophy, and religion were part of this liberal arts study and they turned my mind from scientific deduction to an inductive formulating mind set that artists use to build work. The excitement of making art was like receiving a lightning strike. Could I dare to do this for my life’s work? I went west to study art in Utah never realizing how the geology would impact my visual acuity. I received an MFA in Sculpture there.
If I have a style, it is by default. I am told my work is recognizable, but I do not aspire to a style. I do trust my dreams, revelations, visions, my capacity to synthesize, and find meaning in the ordinary. Each work bubbles up and percolates. Execution is usually much more arduous than I tend to anticipate because I am magnetized by a large palette of materials. Alas, Inspiration is a command. (Agnes Martin) I take the afore seriously and gratefully.
Perhaps by pulling together such disparate forms and textures into unity, I give credence to connection, heart and memory in a world caught by divisiveness and discord. The space between forms has always spoken to me as a synapse of forces. The spiral, a symbol of change, seems to keep surfacing in my sculpture and painting.
The most challenging aspect of making my work is how to attach one material to another so that it reads as a whole, seamless impulse.
The inclusion of glass and showing my paintings has been the biggest change in the last 20 years. They all address timeless themes, but in very different ways. I really enjoy how they inform each other and me.
My sculptures are beautiful maquettes for public spaces. Wouldn’t it be great to see that happen! “My work is a tether that loops around the invisible, the chaos, the quiet; always seeking the structure of the sublime. Without it I am adrift in the in between.”
Stop by Main Street Arts to see four of Jacquie’s sculptures included in “Sacred Curiosities”. The exhibition runs through November 17, 2017.