About Marina Jacob.
Art. Making. Thinking.
Sculpture. Installations. Changes.
I'm a paragraph. Click here to add your own text and edit me. It’s easy. Just click “Edit Text” or double click me to add your own content and make changes to the font. Feel free to drag and drop me anywhere you like on your page. I’m a great place for you to tell a story and let your users know a little more about you.
This is a great space to write long text about your company and your services. You can use this space to go into a little more detail about your company. Talk about your team and what services you provide. Tell your visitors the story of how you came up with the idea for your business and what makes you different from your competitors. Make your company stand out and show your visitors who you are.
I'm a paragraph. Click here to add your own text and edit me. It’s easy.
Marina Jacob is a German artist based in Frankfurt am Main. Her practice includes sculpture and large format drawing, sometimes with performative elements.
She holds a Graduate Diploma in Fine art from Chelsea College of Arts, UAL, London and MA Art & Space degree from Kingston University, London
In my practice I explore hybridity and metamorphosis by introducing elements of drawing into sculptural works and vice versa. For example, I use mark-making inherent to drawing in my sculptural works and turn sculptures into protagonists of my drawings. The sculptures in question can be historical, physically existing works, as well as literary and mythical personages, be it a statue of the Commander, Gargoyles of Notre Dame or a Trojan horse. A deliberately large scale of the works accentuates the materiality of the drawings and their phenomenological aspect of the bodies in space.
In my practice I explore how faith and imagination manifest themselves in various human endeavours. It is a philosophical, literary and artistic investigation of the very notion and possibility of spirituality itself that interests me. I search for answers in the complex and multi-layered tension fields between religion, science and politics.
A Geometry of the Echoes, an ongoing project, is an artistic inquiry balancing on a line where you might imagine an archaeologist sharing insights with an architect or a craftsman.
It is a building of an ephemeral cathedrals, a play where the blueprints and scenarios are delivered by the communities themselves. I’m interested in the ways their relationship with different places of worship and religious practices develops throughout longer periods of time. Its first coordinate had been defined by the research into the cultures practicing human sacrifice. The second echoed the shock of the fire of Notre Dame. Critical analysis of the anthropocentrism is yet another issue of interest for me.