Ever since Jessica Jackson Hutchins spoke at the Henry Art museum in 2006 about her French Bread Pizza Coffin (2005, glazed ceramic with collage) I have been charmed by the humor, sincerity and paradigms shifts in her work.
Her most recent show at Johann König in Berlin is full of her notoriously strange juxtaposition of ceramics, papier mâché, and furniture. The physicality of the work is heroic. They are enormous, almost overwhelming, as if they could engulf you. The pieces gain power and presents as a group. Their dialogue with each other is palatable. These lovely bulbous bodies address simple elements of expansion and absorption by appearing to have consumed what they have touched. There is also a feeling of multiplying and self-replicating.
The work is autobiographical in materials. Jackson sometimes uses her families clothing, kitchenware and furniture. In a small way her sculptures speak of the domestic, how her love for her family and role as powerful mother is imbued into her own body, manifesting in physical form in her sculptures. Jackson’s sculptures speak of the small tasks of the everyday that culminate into something larger then imagined. Her process is more tactile and intuitive then systematic. The result is a larger truth shown precariously between the various elements of these evocative behemoth sculptures.
Photo courtesy of the artist and Johann König, Berlin.
Post by Debra Baxter, debrabaxter.com