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9 - 13 June 2021
09:00 AM - 08:00 PM
My art practice encompasses, sculpture, public art, and studio production that include two dimensional works. The unifying elements and indelible relationship between each genre is my continuous investigation of energy, scale, and the intrinsic material structure and power of imagined nature based form. The elastic boundaries of my studio practice fuels the production and sustainability of works that move freely between permanence and impermanence. I consider each work an intricate part of one unified body of work and continuous narrative.I create imagined spaces and form that signify action, ritual, repetition and improvisation.that we face in modern life while remaining strongly entrenched in historical traditions and culture. I’m interested in creating environments in which a portion of the viewer’s story is visible and chronicled as a significant element of history. Every location embodies timeless stories that are profoundly ingrained in the current landscape’s shape and structure.
Jackson Jarvis Studio is the place where you can experience the exquisite work that engages issues of identity and symbols of the belief that confront us in contemporary life yet are firmly rooted in historical traditions and culture.
I envisage space and form that represent action, ritual, repetition, and experimentation. Ecosystems, decomposition, rebirth, sedimentation, and transformational form are all present in my work. Current work reflects the urgency to return to the land and natural environments to access and
activate the narratives that are both hidden and exposed there. Conceptually, my work blurs boundaries between sequential and spatial narratives I unearth resonant forces in the environment, reimagining them within the natural world. I view Art as the sentient breadth and nexus that explores relationships and contingencies linking the physical materiality of Nature, Science and Humanity
My proposed sculpture project, entitled Family Circle, celebrates the Buckeye site and establishes a meaningful place of welcome for the community. Family Circle creates a dynamic place that encircles and invites users through the space and towards the campus buildings. Upon entry, viewers are invited on a journey of exploration and discovery through natural materials, tactile surfaces, ancient symbols, icons, patterns, and colors.Humanity
Cast concrete, glass mosaic, Stone 3’H X 35’W X 3’D (each) Seven Arcs total Commissioning Body: Cleveland Public Art Date of Completion: 2009
Commission DPS John L. Lewis Elementary School (West Elementary) Aluminum, Glass Mosaic 15 Ft. H x 15 Ft. W x 3 Ft. D Date of completion: 20021
Laurel Library Laurel , MD Commissioned: Prince Georges Arts and Humanities Council 8 Ft H x 8 Ft. W x 3.5 Ft. D Date: 20017
Commissioned Maryland Parks and Planning Westphalia Recreation Center Steel, Glass Mosaic 22 Ft. H x 18 Ft. W x 3 Ft. D Date: 2017
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Each work, is an integral part of a larger, more cohesive body of work that tells a continuous
story.
MARTHA JACKSON JARVIS
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A dark, womblike atmosphere pervaded Martha Jackson Jarvis’s “Ancestors’ Bones,” an exhibition of recent work at the University of Delaware’s Mechanical Hall Gallery. More than a group of individual pieces, the show offered a complete staged environment. ( AM Weaver : Art In America Review) The sculpture Nest Stones (2010-11) straddled most of the central space. A tangled web of cured wisteria- and grapevines, anchored by large pod shapes made of petrified pine bark (pressurized bark found below the earth’s crust) and mortar, rested on the oak floor. Digital enlargement of the artist’s Ancestors’ Bones #1 (2010-11, mixed mediums on paper) covered one wall. The 20-by-26¼-inch drawing was also on view. It is a sepia-toned group portrait of African-Americans assembled in front of a one-room wooden schoolhouse. Hovering above them in the area of the sky are large monochromatic photo transfers of coral clusters. Intrigued by the engravings of Albertus Seda, an 18th-century pharmacologist, zoologist, and collector of plant and animal specimens, Jackson Jarvis used images of coral in most of the two-dimensional works in the exhibition. A series of photo collages lined other walls. These feature shots of Southern vernacular architecture, some inhabited and some not, as well as renderings of skeletal pears, leaves, and maple seeds. The photos were taken from a discarded family album of vintage images, picturing blacks from the turn of the 20th century. The exhibition’s title speaks volumes about the works displayed. Jackson Jarvis, who is based in Washington, D.C., and has been making artwork for more than three decades, intends to evoke ancestral visitors, and always pays homage to the spirit realm in her work. The installations, sculptures, and works on paper in this show reflect her interest in spirituality as well as her love of nature, both flora, and fauna. Like the ancients, Jackson Jarvis believes everything animate and inanimate possesses a life force. Of note, in two adjacent rooms, were additional mural-size details of her photomontages, along with 35 abstract mixed-medium ink drawings that spin-off of Seda’s coral engravings. The most compelling of these are from the “Free Spirit” series, in particular Free Spirit I and IV (both 2011, 42½ by 60 inches). They are a lyrical abstraction at its best and enliven the sepia tones, predominant in smaller drawings created between 2010 and ’11, with splashes of yellow ocher, blue and red. In one section of the show, Jackson Jarvis juxtaposed a mural featuring a detail from one of her gestural drawings and a 76-inch-wide sculpture, Umbilicus (2008). The latter consists of a giant version of a spherical sycamore pod, made of volcanic stone and glass, attached by a wooden vine to a long, narrow pod shape. The metaphor of birthing is evident here and coincides with Jackson Jarvis’s use of symbols of life and living. One was left with a sense of mystery, enhanced by the dramatic low lighting. With this exhibition, Jackson Jarvis brought together works reflective of a sensibility that she has nurtured for years, establishing her process and theme as a cyclical evolution. The term “environment” truly encapsulates the spirit of this exhibition.