Jessica Stockholder

Jessica Stockholder describes her work as not minimal, not comprehensible and not controlled. She likes the chaos and mixed intuition. There is a kind of discomfort with the way in which the brain puts bits together. This gives the inspiration to be in the studio alone as you alone are able to determine what is going to happen, without having to communicate this to others, and it getting lost in communication. There is also the element of putting yourself, as an artist, in a circumstance that you don’t know what is happening, and this is exciting.
Stockholder enjoys working with plastic and colour, and how the plastic embodies colour. Plastic is also quick, easy and inexpensive, because it is available everywhere. Engaging in the means of production that we live with, is then a thought process that Stockholder goes through. Because the work is sculptural and very much connected to the physical world, it is non-verbal. stockholder finds it interesting to put words parallel to these works.
Drawings are a way of planning what she is planning to do, how she is going to go in the space, and how to create an action. It is a method of preparation, even though this is uncomfortable as there is no clear way of preparing for this type of work.
Within exhibitions, there is no set criteria for the items that become part of it – as long as they are colourful and plastic. Fridges and freezers are often included as these, for Stockholder, have strong connections to food, and how this was shared with family, and spread happiness. Stockholder is also fascinated by the juxtaposition of being cold. Exhibitions, and her work in general are both geometric and systematically organised, while being contrasted to randomness. This makes it feel like fantasy fictions are resonating with her work as another world can be experienced within our own mundane one, even though this work is made of mundane items. Stockholder’s work is about pleasure, and playing with the element of play.

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