EXPO ‘Nomen Dubium’ – Appalachian Center for Craft, Smithville, TN (USA) – 6 janv.-10 Fevr. 2011

A solo exhibition of wearable and sculptural work  by Jillian Moore - enamel on metal

« Nomen Dubium—“doubtful name”
 Our natural tendency to seek out patterns results in a sensitivity to the congruities in biological forms. Deliberate exploitation of these phenomena results in objects that are both ambiguous and evocative. Some are organs removed from the body in which they once belonged, revealing structures with unknown functions. Others are complete specimens tagged with labels. Signs of dissection as well as taxonomy provide evidence of attempts to demystify these new organisms. However, this approach leaves many unanswered questions and highlights the inherent ethical compromise in these methods of understanding.
I choose materials and techniques that are transformative, resulting in objects that do not readily reveal the processes of their making. Copper may be hidden under layers of paint, the only exposed metal oxidized. The electroforming process allows for wax forms to be coated in copper leaving a hollow shell with textural encrustations–evidence of the accretive nature of the process of building copper on a molecular level. The resin pieces are light in weight, built on a core of carved foam that is strengthened by successive layers of an opaque, water-based composite resin. The clear epoxy resin is then layered with paint to create a depth of surface typically expected of glass work. The slick gloss of the resin further mimics biology.« 

 
Jillian Moore- « Corallium, » brooch, 2010, foam, composite and epoxy resin, paint

 

« My work is created in imitation of life forms.  They invite touch with their curves and pebble-smooth surfaces.  Soft, organic shapes based loosely and speculatively on biology grow and morph across skin and fabric.  They coil around, slide along slug trails, or root themselves like coral.  Often their methods of attachment or interaction imply a biological function.
It is important for me that each piece becomes a hybrid of influences.  Flora and fauna, fruit and genitalia, organ and body, all contained within one piece.  Desire for them should be tempered with hesitation.  Objects that can represent my conflicting interests feel satisfyingly pregnant. 
I choose colors that are attractive on a base level.  It is important that they be luscious, and I rationalize my choices based on my amateur interests in biology.   The texts of basic public education in the life sciences linger in my memory.  Sometimes the colors are more mammalian; sometimes they are referential of marine invertebrates as the borders of one color vibrate against another. 
The surfaces are pleasing from a distance and hold that promise as the viewer gets closer, zooming in with the lens of the eye to find detail just a few inches away.  It is important that they not become demystified upon close inspection.  This is key to what creates “authenticity” for me.  Removed from an assumed context, the pieces feel jarringly out of place, alien.  They have the quality of specimens taken out of their natural environment.  »

 

Jillian Moore - Organella Monstruosis–6” x 5 ½” x 2 ½”, foam, composite and epoxy resin, fabricated copper, paint, ink

 

 

Appalachian Center for Craft
1560 Craft Center Drive
Smithville, TN 37166 – USA