2022 Grad Show

jam

AUArts Grad Show JAM-R-PROFILEIMAGE-01

Drawing

showandsale.ca/collections/jam

jam is an interdisciplinary artist graduating with distinction from the Alberta University of the Arts. majoring in drawing and minoring in ceramics, their work features a ritualistic use of the spiral as a grounding point for her various material explorations in clay and paper, driven by a constant search for moments of reflection and emotional release - the resulting installation-based work embodies dualistic themes of strength and fragility, highlighting the often tension-filled relationship between her body and the ways it takes up space as a queer, neurodivergent person healing from trauma.

untitled ("and do they speak to you? cause they speak to me too / the pressure and the panic, you push your body through"), 2022.

untitled

untitled ("and do they speak to you? cause they speak to me too / the pressure and the panic, you push your body through"), 2022.
the remnants of paper drawings once manipulated through the addition of uncontrollable amounts of water and a spiral of thin, compressed line work that grows out from the center of the paper, hang in a set of 9. after being coated with a porcelain slip, they were fired once to burn away the drawings, and then a second time to 1223 degrees Celcius, resting face down on top of a spread of spiraling seashells, in the process taking their form and a soft flash of shiny glaze.

untitled AUArts Grad Show DSC_0347
untitled ("and do they speak to you? cause they speak to me too / the pressure and the panic, you push your body through"), 2022.
untitled AUArts Grad Show DSC_0390
untitled AUArts Grad Show DSC_0381
untitled AUArts Grad Show DSC_0341
untitled AUArts Grad Show DSC_0374
untitled AUArts Grad Show DSC_0376
untitled (the gaps in my teeth / and all that I can cling too), 2022 five stoneware vessels transform into a stable landscape of quiet connection points and cavity-like in-between spaces as they rest on top of a spread of smaller, manipulated paper works - a collection of intimately unstable objects, existing as interconnected relics of the ritualistic material conversations taking place in the studio.
untitled (the gaps in my teeth / and all that I can cling too), 2022 five stoneware vessels transform into a stable landscape of quiet connection points and cavity-like in-between spaces as they rest on top of a spread of smaller, manipulated paper works - a collection of intimately unstable objects, existing as interconnected relics of the ritualistic material conversations taking place in the studio.
spiraling clusters of circular organic forms, fluctuating through shades of greys, blues, pinks, and violets - the paper works resist categorization as they grasp at some kind of performative sense of usefulness in their attempt to camouflage themselves as doilies, mimetically engulfing themselves into the rest of the work through their mirrored processes of labored line drawing and organically abstracted forms.
spiraling clusters of circular organic forms, fluctuating through shades of greys, blues, pinks, and violets - the paper works resist categorization as they grasp at some kind of performative sense of usefulness in their attempt to camouflage themselves as doilies, mimetically engulfing themselves into the rest of the work through their mirrored processes of labored line drawing and organically abstracted forms.
By subverting expectations of the typical interactions between “craft” and the traditionally “fine arts” materials present in the work, I am working to explore how visual representations of dualism can potentially interrupt dualistic understandings of (in this case) these two fields as well as my viewers' ability and/or desire to categorize and/or assign value to the collection of objects in front of them.
untitled (the gaps in my teeth / and all that I can cling too), 2022 five stoneware vessels transform into a stable landscape of quiet connection points and cavity-like in-between spaces as they rest on top of a spread of smaller, manipulated paper works - a collection of intimately unstable objects, existing as interconnected relics of the ritualistic material conversations taking place in the studio.

untitled

untitled (the gaps in my teeth / and all that I can cling too), 2022
five stoneware vessels transform into a stable landscape of quiet connection points and cavity-like in-between spaces as they rest on top of a spread of smaller, manipulated paper works - a collection of intimately unstable objects, existing as interconnected relics of the ritualistic material conversations taking place in the studio.

untitled AUArts Grad Show DSC_09346
untitled (the gaps in my teeth / and all that I can cling too), 2022
five stoneware vessels transform into a stable landscape of quiet connection points and cavity-like in-between spaces as they rest on top of a spread of smaller, manipulated paper works - a collection of intimately unstable objects, existing as interconnected relics of the ritualistic material conversations taking place in the studio.
untitled AUArts Grad Show DSC_0954
untitled (the gaps in my teeth / and all that I can cling too), 2022
five stoneware vessels transform into a stable landscape of quiet connection points and cavity-like in-between spaces as they rest on top of a spread of smaller, manipulated paper works - a collection of intimately unstable objects, existing as interconnected relics of the ritualistic material conversations taking place in the studio.
untitled AUArts Grad Show DSC_0927
spiraling clusters of circular organic forms, fluctuating through shades of greys, blues, pinks, and violets - the paper works resist categorization as they grasp at some kind of performative sense of usefulness in their attempt to camouflage themselves as doilies, mimetically engulfing themselves into the rest of the work through their mirrored processes of labored line drawing and organically abstracted forms.
untitled AUArts Grad Show DSC_0923
spiraling clusters of circular organic forms, fluctuating through shades of greys, blues, pinks, and violets - the paper works resist categorization as they grasp at some kind of performative sense of usefulness in their attempt to camouflage themselves as doilies, mimetically engulfing themselves into the rest of the work through their mirrored processes of labored line drawing and organically abstracted forms.
untitled AUArts Grad Show DSC_0924
By subverting expectations of the typical interactions between “craft” and the traditionally “fine arts” materials present in the work, I am working to explore how visual representations of dualism can potentially interrupt dualistic understandings of (in this case) these two fields as well as my viewers' ability and/or desire to categorize and/or assign value to the collection of objects in front of them.
untitled AUArts Grad Show DSC_0867
untitled (the gaps in my teeth / and all that I can cling too), 2022
five stoneware vessels transform into a stable landscape of quiet connection points and cavity-like in-between spaces as they rest on top of a spread of smaller, manipulated paper works - a collection of intimately unstable objects, existing as interconnected relics of the ritualistic material conversations taking place in the studio.
through each transition every material involved dances between moments of strength and fragility. just as I have danced between the two, through five years of intense growth and passionate dedication to spinning outside of my comfort zone..
untitled ("what is love? can the child in my heart rise above? / can i sail through the changing ocean tides? can i handle the seasons of my life?"), 2022.

untitled

untitled ("what is love? can the child in my heart rise above? / can i sail through the changing ocean tides? can i handle the seasons of my life?"), 2022.

this performance piece features the remnants of a paper drawing manipulated through the addition of uncontrollable amounts of water and a spiral of thin, compressed line work that grows out from the center of the paper. after being coated with a porcelain slip, it was fired once to burn away the drawing, and then a second time to 1223 degrees Celcius, while resting face down on top of a spread of spiraling seashells, taking their form and a soft flash of calcium glaze in the process.

untitled
through each transition every material involved dances between moments of strength and fragility.
just as I have danced between the two, through five years of intense growth and passionate dedication to spinning outside of my comfort zone..
untitled AUArts Grad Show Untitled-2 copy
untitled ("what is love? can the child in my heart rise above? / can i sail through the changing ocean tides? can i handle the seasons of my life?"), 2022.
This is the third iteration of a performance done over a four-year period of intense personal and artistic growth - this final version of the work was unattainable without the participation of those who see and support me living in my wholeness (and an extra special acknowledgment is owed to Levin Ifko for their generous support and technical expertise in the process of literally documenting this piece as well).
This is the third iteration of a performance done over a four-year period of intense personal and artistic growth - this final version of the work was unattainable without the participation of those who see and support me living in my wholeness (and an extra special acknowledgment is owed to Levin Ifko for their generous support and technical expertise in the process of literally documenting this piece as well).

ritual for release (3)

12 minutes, 20 seconds.
an intimate portal into the ritualistic process of removing dead ends to allow for new growth. at its core functioning as an allegory for my healing process, a process defined by the need to untangle the strands of emotion from my past I continuously find cycling through my present - a process that is propelled forward by the transformation that takes place in the refusal to cling to repetitive patterns that are worthy of release.

ritual for release (3)
This is the third iteration of a performance done over a four-year period of intense personal and artistic growth - this final version of the work was unattainable without the participation of those who see and support me living in my wholeness (and an extra special acknowledgment is owed to Levin Ifko for their generous support and technical expertise in the process of literally documenting this piece as well).
ritual for release (3) AUArts Grad Show poem
This is the third iteration of a performance done over a four-year period of intense personal and artistic growth - this final version of the work was unattainable without the participation of those who see and support me living in my wholeness (and an extra special acknowledgment is owed to Levin Ifko for their generous support and technical expertise in the process of literally documenting this piece as well).

(i am the same, im the same, im trying to change)

untitled ("i am the same, im the same, im trying to change"), 2022
soda fired ceramic tile mosaic

(i am the same, im the same, im trying to change) AUArts Grad Show DSC_0303
untitled (i worry this is how im always gonna feel / nothing lasts, i know the deal), 2021. nesting stoneware vessels made of wheel-thrown parts attached together through coil building, elevated to eye level and sitting in a pool of water / suspended body-sized watercolor drawing
flowing between shades of blue and white, diffused afternoon sun lights up textured layers of fluid spiraling forms that take up space somewhere in-between definitions of drawing and sculptural object
flowing between shades of blue and white, diffused afternoon sun lights up textured layers of fluid spiraling forms that take up space somewhere in-between definitions of drawing and sculptural object
mirrored by four vessels all built with an awareness of one another, the curved edge of the manipulated paper exists in conversation with the curves of the vessels - both halves are created through a repetitive, ritualistic making process driven by a need for release from the emotional turmoil attached to moments of construction and reconstruction experienced while navigating growth in a long term partnership.
mirrored by four vessels all built with an awareness of one another, the curved edge of the manipulated paper exists in conversation with the curves of the vessels - both halves are created through a repetitive, ritualistic making process driven by a need for release from the emotional turmoil attached to moments of construction and reconstruction experienced while navigating growth in a long term partnership.
untitled (i worry this is how i'm always gonna feel / nothing lasts, i know the deal), 2021 nesting stoneware vessels made of wheel-thrown parts attached together through coil building, elevated to eye level and sitting in a pool of water / suspended body-sized watercolor drawing.

untitled

untitled (i worry this is how i'm always gonna feel / nothing lasts, i know the deal), 2021
nesting stoneware vessels made of wheel-thrown parts attached together through coil building, elevated to eye level and sitting in a pool of water / suspended body-sized watercolor drawing

untitled AUArts Grad Show DSC_0273
untitled (i worry this is how im always gonna feel / nothing lasts, i know the deal), 2021.
nesting stoneware vessels made of wheel-thrown parts attached together through coil building, elevated to eye level and sitting in a pool of water / suspended body-sized watercolor drawing
untitled AUArts Grad Show DSC_0232
flowing between shades of blue and white, diffused afternoon sun lights up textured layers of fluid spiraling forms that take up space somewhere in-between definitions of drawing and sculptural object
untitled AUArts Grad Show DSC_0236
flowing between shades of blue and white, diffused afternoon sun lights up textured layers of fluid spiraling forms that take up space somewhere in-between definitions of drawing and sculptural object
untitled AUArts Grad Show DSC_0289
mirrored by four vessels all built with an awareness of one another, the curved edge of the manipulated paper exists in conversation with the curves of the vessels - both halves are created through a repetitive, ritualistic making process driven by a need for release from the emotional turmoil attached to moments of construction and reconstruction experienced while navigating growth in a long term partnership.
untitled AUArts Grad Show DSC_0265_2
mirrored by four vessels all built with an awareness of one another, the curved edge of the manipulated paper exists in conversation with the curves of the vessels - both halves are created through a repetitive, ritualistic making process driven by a need for release from the emotional turmoil attached to moments of construction and reconstruction experienced while navigating growth in a long term partnership.
untitled AUArts Grad Show DSC_0256
untitled (i worry this is how i'm always gonna feel / nothing lasts, i know the deal), 2021
nesting stoneware vessels made of wheel-thrown parts attached together through coil building, elevated to eye level and sitting in a pool of water / suspended body-sized watercolor drawing.