About Marina Jacob.

Art. Making. Thinking.

Sculpture. Installations. Changes

view works

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. On the other hand, I use the residues of the sculptural process as a material of my drawings.

A deliberately large scale of the works accentuates the materiality of the drawings and their phenomenological aspect of the bodies in space. I’m permanently concerned with materiality and processes, with the intense inner life of the materials. It is on the level of the material imagination that I’m trying to connect with the viewer.

The philosophical ideas of Gaston Bachelard and Bruno Latour’s theories concerning the agency of objects inform these views. A secret life of the substance is full of surprises, sometimes it is able to explode barriers and to short-cut preconceptions in unthinkable ways. The works hesitate on the threshold of knowledge and approaches the answers along the avenues in which rational cognition doesn’t enjoy exclusivity.

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In my current work series Geometry of the Echoes I’m “caging the fire” and explore the elements of Fire and Earth. The works have been triggered by the fire of Notre Dame and received further impulses from the rainforest fires and a brand at Krefeld zoo. It is also informed by the research on cultures practicing human sacrifice.

A tension field between religion, science, art and politics is complex and multi-layered. It isn’t a hope for finding answers that motivates my work. It is rather a translation of questions into language of material imagination that interests me. This language is sometimes direct, but oftener more obscure and interesting for a synthetic reading.

The weapon-like industrial coldness of the steel, an emotionally charged sensual warmth of copper, an uncanny feel of the dead paper skins, a vascularity of the red wax, they all are being tested in the alchemist’s retort here. The measurements of the paper “bodies” are as tell telling as their levitation, their seeming entropy immediately reacting to a human presence, to the bodily warmth, movement and position.