click on image for an enlargement, price, size and medium.
oil on canvas
paint on newsprint over panel
found materials that either reveal or subvert underlying formative principles. Whether I’m
painting over newspapers, making installations from objects collected in the Arctic,
intervening in public spaces, or inviting scientists to interact, I am driven by subtle shifts
in perception and a rearrangement of form. I’m drawn to the fleeting experience that
allows for impermanence, chance, unpredictability and tenuous stability. I’m looking for
the possibility of revelation through simple means, a place and a moment where now
dissolves into always, and always into now.
THE TIMES: THE MOMENT AT HAND
For over a year, I have been painting over newspapers—obliterating, whiting out, and
rearranging the page. The underlying typographical structure is laid bare by the absence
of language and a parallel, simultaneously existing abstraction is exposed. They are
works about sustaining an epiphany of bodily presence while working within parameters
of pre-determined systems. The newspaper provides a constant format within which
there is no possibility of prediction, allowing chance to provide the parameters of the
work. In their multilayered process of making, these paintings become a palimpsest—a
chance to sand away and begin anew.
Jessica Houston was born in 1970 in Chicago. She lives and works in New York City. She holds an MA from Columbia University. She was an invited artist aboard a Cape Farewell voyage to the Arctic, and was featured in the expedition documentary by Big Heart Media, London, UK. Recently, she presented her work at the International Polar Year Conference in Oslo, and was invited to the Tipping Point Conference, a climate change think tank, held by Columbia University. Selected exhibitions include: NJ MOCA, New Jersey (2010); I Castello di Corigliano, Corigliano, Italy (2010); Camac Center for Art, Marnay sur-Seine, France (2009); British Embassy, online debate (2009); Sragow Gallery, New York (2009); Miami Red Dot Art fair (2007); Berliner KunstProjekt, Berlin (2003). Her work explores subtle shifts in perception and rearrangement of form; her site-specific installation at New Jersey MOCA continues this interrogation, eliciting articulation of and observations on color.