“I was an intense kid, and I always identified as an artist.”
The intimate disclosure of Jessica Jackson Hutchins’ personal life is both the conceptual and formal basis of her work.
Jessica Jackson Hutchins transforms of everyday personal objects and materials into emotionally raw art pieces.
She hints at the dramas of love and family, keeping references oblique and mysterious, allowing formal qualities free rein to create their own abstract and tactile languages.
Jackson graduated from Art History the Oberlin College, and know makes arts-and-crafts-style ceramic, textile, and furniture hybrids that speak to the chaos of domestic life, relationships, and motherhood. Her ceramics are floating in a funk motion, moulded by hand, their forms shifting from the refined to the more rudimentary. Tattered soft furnishings sagging with familiar dents or knocked about tables and chairs provide the seats for these ceramics that are redolent with autobiography and anthropomorphism.
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Papier-mache sculptures, and collages share a crass aesthetic and a preoccupation with the thin line between disaster and success that disguise a genuine attempt to convey ideas about communion, fear, and loneliness.
She discusses literature with unapologetic earnestness because the reading and making art are what saved her during her lonely adolescence.
Jessica Jackson Hutchins is often placed in the feminist art canon, next to the big ones Judy Chicago and Betty Woodman. But that perspective seems reductive—her work is more about emotionalism than feminism.
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