Quotes by Jessica Stockholder - Page 1

I don't have assistants and things in the studio.
Jessica Stockholder / Sculptor
Assistants
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I feel a bit like a magpie attracted to shiny things.
Jessica Stockholder / Sculptor
Shiny
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I love the way painting is so full of illusionistic possibilities.
Jessica Stockholder / Sculptor
Possibilities
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Focused attention necessarily has an edge, but as focus changes, the edge shifts.
Jessica Stockholder / Sculptor
Edge
Shifts
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I work in response to the limitations of any situation and in relationship to what's possible.
Jessica Stockholder / Sculptor
Response
Limitations
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Paint is the skin of a painting: it is fiction. In houses, it disguises the plumbing and wiring and studs and nails.
Jessica Stockholder / Sculptor
Nails
Paint
Plumbing
Wiring
Houses
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It doesn't matter what I use. It can be anything. What's interesting is how what I'm doing meets with the stuff I use.
Jessica Stockholder / Sculptor
Interesting
Meets
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Things have character. So I'm interested in how the character of the thing might function as a protagonist in what isn't a narrative.
Jessica Stockholder / Sculptor
Function
Narrative
Protagonist
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In a park, you are not working with studio materials or a flat piece of paper. You have grass and the people and the city and the daylight.
Jessica Stockholder / Sculptor
Daylight
Grass
Materials
Paper
Park
Piece
Studio
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I make things complicated for myself and chaotic, so I feel unsettled, and then the challenge is to make something structured and complete emerge from that.
Jessica Stockholder / Sculptor
Chaotic
Emerge
Structured
Unsettled
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I am more interested in asking questions about the edges of things and thoughts. So the objects I use are not initially the subjects of the work; they are its ground.
Jessica Stockholder / Sculptor
Asking Questions
Edges
Subjects
Initially
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I've always loved color because it's a little bit like music. I love that it seems to be both physical and ephemeral and engages us as a metaphor for our feeling lives.
Jessica Stockholder / Sculptor
Color
Ephemeral
Little Bit
Metaphor
Seems
Love Music Always
Bit
Loved
Feeling
Physical
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Handmade things tend to be so expensive that only a small part of the population can afford them. And yet making things with hands is such an essential part of being human.
Jessica Stockholder / Sculptor
Being Human
Expensive
Handmade
Population
Things
Afford
Being
Only
Them
Part
Human
Essential
Small
Making
Small Part
Tend
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Pictures often sit inside of pictures, but the edges of pictures and objects are rarely subjected to serious challenge; we are presented with distinct, whole pictures and objects.
Jessica Stockholder / Sculptor
Edges
Distinct
Presented
Rarely
Subjected
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My idea is to fill an intersection with color. That will include the road and the sidewalk and up the building, so there's a cubic volume of color in the intersection wedged between four corners and four buildings.
Jessica Stockholder / Sculptor
Corners
Sidewalk
Volume
Buildings
Fill
Include
Intersection
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The very formal, beautiful, composed order that I make with paint and color is freighted with objects, but like leaves falling from a tree onto a lawnmower below, the edges of this 'thing' have a certain serendipity.
Jessica Stockholder / Sculptor
Edges
Formal
Objects
Paint
Serendipity
Tree
Below
Composed
Falling
Leaves
Onto
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My work participates in that really quick and easy and inexpensive material that's part of our culture. In that way, my work engages the means of production that we live with, even while it's classical and embodies some things from a very long time ago.
Jessica Stockholder / Sculptor
Inexpensive
Long Time Ago
Time Work Culture
Classical
Embodies
Work Time Culture
Quick
Very Long Time
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Your hands learn to do things that you could spend a whole day trying to write about and articulate. There's a discomfort associated with trying to put all those different ways the brain works together. I kind of like to avail myself of that discomfort.
Jessica Stockholder / Sculptor
Brain
Hands
Writing
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There's something about materials like copper, woods, stone, trees, shells. You walk outside and these materials are part of the world before we touched anything. There's a feeling of pleasure that many of us have in materials that have some presence before us, like clay and wood and copper.
Jessica Stockholder / Sculptor
Clay
Feelings
Tree
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Looking at younger artists, like Varda Caivano and Kerstin Bratsch, I see that their work has something in common that is new to my generation. There's an effort to value the evidence of the hand and the handmade thing while also acknowledging the way in which the making of things with hands has such a complex, alienated place in our culture.
Jessica Stockholder / Sculptor
Common
Effort
Evidence
My Generation
Acknowledging
Alienated
Younger
Artists
Complex
Generation
Hand
Value
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I don't think there's any single finished point for a work. It's done when something's happening with the work that feels like a balanced, coherent disharmony. That's one way to say it. And where if I keep working on it, to discover and struggle with new problems, I'll obliterate the ones I was working on. I could keep working on it, but it'd become something different. And I value what's here, at the moment.
Jessica Stockholder / Sculptor
Struggle
Thinking
Way
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Jessica Stockholder Quotes - Page 1

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