As a child I had a large round mirror on the wall of my bedroom. I used to take it down and hold it at my waist, walking around the house looking into the reflection, stepping high over the doorframes, marveling at how different my familiar landscape had become.
I make objects for the body in order to transform the world and how we perceive the world. As mediated experience through technology has prevailed I am interested in the function of the object against the growth of depersonalization. I believe that objects have the ability to cultivate intimate relationships and provide self-awareness through encounter.
Fabricating for the body, I use recognizable forms and particular craftsmanship in order to lend authority to my pieces as functional objects. The forms that I choose are drawn from personal but familiar sources; my grandmother’s circa 1930’s hat collection, Amish bonnets from my childhood trips to the farmer’s market, the colors of a Brahmin town visited in India. This referencing of familiar sources lends veracity to the body objects. Through the use of humor, meticulous detail and ambiguous function I coax my audience to investigate closer, closing the physical gap between viewer and object. In this way I want the details of my workmanship to act as a whisper, flirtatiously seductive in its discretion.
My use of materials is specific; the nature of my practice is to blend disciplines. I am attracted to clay, fiber and cardboard because of the pedestrian, accessible qualities of these materials. I take advantage of the intimate relationship that can be cultivated between the body and ceramic and the body and textile.
My most recent explorations have a focus on communication and relationships. This work is an investigation of actual, metaphorical and poetic means of building connections between people. Through these objects I am exploring methods of communication and the navigation of the spaces, both physical and mental, that we inhabit. I am intrigued with creating new ways of seeing, hearing and participating with our surroundings.
By disrupting or enhancing the senses, my props make possible an exaggerated self-awareness, a break in the normalcy of daily experience. With the body dressings I create a liminal space between reality and the imagination. This work is a social experiment of sorts, a mediated event to explore communication, comfort and complacency through play.
— Janice Jakielski