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Jillian Conrad
Page 1 | 2 | Biography
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The physical world that surrounds us is a language formed by layers of time, choice, and chance. Its variety and strangeness mirror the private, craggy world inside each of us.
I use sculpture as a tool for creating connections between the ordinary stuff of everyday life and the singularity of human experience; the wonderful mess of a construction site and the quiet spread of morning sunlight are equally fruitful. The experience of seeing sculpture in a certain place, at a certain time, gives shape to the intangibility of our inner lives.
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In my current work, I create installations that explore the fine edge between sculpture and viewer by juxtaposing seemingly incongruous materials such as cardboard and reflective silver. I believe the visual spark caused by linking these materials allows a hidden integrity to be revealed; the installations ask viewers to consider the possibility that the boundary between the banal and beautiful is not as wide as they might imagine.
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As the viewer’s eye follows the illuminated edges of my work, they are drawn into the joyful friction between the inner and the outer worlds we inhabit. I want to know all the ways in which these worlds rub up against each other and give off heat.
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LIST OF IMAGES
1. SUN SPOTS, 2004. cardboard boxes, mirrorizing solution. dimensions variable.
2. MOVEABLE FEAST INSTALLATION 1, 2003. plywood, paint. dimensions variable.
3. BLACK MOUNTAINS, 2003. hardwood charcoal, foam, plywood. 5' x 16' x 1"
4. YOU ARE MY MIRROR, 2005. roofing felt, resin, wood. 16" x 1/8" x 16'
5. SQUEEZING FOREST LIGHT INTO SHADOWS, 2006. plywood, paint. dimensions variable.
6. GULLY (DETAIL from search image on "Sculpture" page), 2006. cardboard box, sequins. 6" x 10" x 12"
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New York, NY
New York
North America
t: 0
m: 0 5105930796
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Web Links
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