Jasmine Fetterman - "Magnificent Corpse"
2020, Variable , Media: Non-clay, Firing Process: Other, Surface: Non-ceramic
2020,1min20sec Video Link to View Video: https://youtu.be/9a9U3VrFXj4 Magnificent corpse is a play on the game exquisite corpse focusing on the intricacies of identity development, fragmentation, body dysphoria, and self acceptance.
2020, Variable , Media: Non-clay, Firing Process: Other, Surface: Non-ceramic
2020,1min20sec Video Link to View Video: https://youtu.be/9a9U3VrFXj4 Magnificent corpse is a play on the game exquisite corpse focusing on the intricacies of identity development, fragmentation, body dysphoria, and self acceptance.
Jasmine Fetterman - "In Place But Out Of Place"
2020, Variable , Media: Earthenware / Terracotta, Mixed Media, Non-clay, Firing Process: Other, Surface: Non-ceramic, Unglazed
2020, Video, TV, Terracotta, Bathroom towel rack, rhinestones, wig, glitter, grout This installation helped me begin think about the importance of reflection and examination, and the bathrooms place as the proverbial “closest” and its necessity in the queer experience. It also began my exploration and understanding into identity signifiers. It posed the question: what happens to an identity if one of the “main” signifiers is removed.
2020, Variable , Media: Earthenware / Terracotta, Mixed Media, Non-clay, Firing Process: Other, Surface: Non-ceramic, Unglazed
2020, Video, TV, Terracotta, Bathroom towel rack, rhinestones, wig, glitter, grout This installation helped me begin think about the importance of reflection and examination, and the bathrooms place as the proverbial “closest” and its necessity in the queer experience. It also began my exploration and understanding into identity signifiers. It posed the question: what happens to an identity if one of the “main” signifiers is removed.
Jasmine Fetterman - "Pleasure Palace South"
2021, Variable , Media: Earthenware / Terracotta, Mixed Media, Non-clay, Firing Process: Electric, Surface: Lustre
2021, 6 Projected Video, Couch, Terracotta. While the north space focuses on the Diva and the performance of gender and identity, it dehumanizes me, the south gallery works to re-humanizes me. The variation of close ups, angles, and subject matter works together to show a raw side of humanity: human desires, human actions, and sexuality. The south space exists within the past and as a transition out of the present. There is an undeniable presence of a stasis and waiting by the lounging bodies, and the never ending tapping of stiletto nails. While this space lies mostly within the realm of the interior, the acknowledgement of the viewer through the audio as well as the moments of locking eyes with the camera searching for eye contact on the other side speaks to a desire to be seen, foreshadowing what is to come within the near future.
2021, Variable , Media: Earthenware / Terracotta, Mixed Media, Non-clay, Firing Process: Electric, Surface: Lustre
2021, 6 Projected Video, Couch, Terracotta. While the north space focuses on the Diva and the performance of gender and identity, it dehumanizes me, the south gallery works to re-humanizes me. The variation of close ups, angles, and subject matter works together to show a raw side of humanity: human desires, human actions, and sexuality. The south space exists within the past and as a transition out of the present. There is an undeniable presence of a stasis and waiting by the lounging bodies, and the never ending tapping of stiletto nails. While this space lies mostly within the realm of the interior, the acknowledgement of the viewer through the audio as well as the moments of locking eyes with the camera searching for eye contact on the other side speaks to a desire to be seen, foreshadowing what is to come within the near future.
Jasmine Fetterman - "F U Duchamp Your Time Is Up"
2021, Variable , Media: Earthenware / Terracotta, Mixed Media, Non-clay, Firing Process: Electric, Surface: Non-ceramic, Unglazed
2021, terracotta, video This urinal, of which there are many, since the original doesn’t exist anymore, has become a symbol for the birth of conceptualism. The act of a gender queer body tearing out pages of a book about Duchamp above a frankensteined (queered) version of his urinal grounds the work within the artworld. Rejecting its lineage, speaking to the new generation of artists that are on the rise, that reject and understand the domination of the artworld by the masculine, straight, and rich.
2021, Variable , Media: Earthenware / Terracotta, Mixed Media, Non-clay, Firing Process: Electric, Surface: Non-ceramic, Unglazed
2021, terracotta, video This urinal, of which there are many, since the original doesn’t exist anymore, has become a symbol for the birth of conceptualism. The act of a gender queer body tearing out pages of a book about Duchamp above a frankensteined (queered) version of his urinal grounds the work within the artworld. Rejecting its lineage, speaking to the new generation of artists that are on the rise, that reject and understand the domination of the artworld by the masculine, straight, and rich.
Jasmine Fetterman - "Queen Of Divinity"
2021, Variable , Media: Mixed Media, Non-clay, Firing Process: Other, Surface: Non-ceramic
Portrait, 2021 Video, portraiture, and performance have been used extensively as a way to express identity, especially identities of us non-normies. These three mediums have the ability to exist within the world with a boundarylessness when representing the presence of the body. The history of portraiture is one that is explicitly connected to the representation of the western upper classes, existing as one of the earlier avenues of expression that visually represents the idea of world making, or in other words, the “wish-landscape.” These two facts about portraiture is also what makes it so useful when representing non-normies against and within normal culture. Similarly to how opulence can be employed, the iconic nature associated with representationally massive oil painting allows for the insertion of a queer body into that space demonstrating that non-normies can and will exist in that space. Flipping the iconic and traditional use of the medium on its head to critique the system and class that historically lays claim to it.
2021, Variable , Media: Mixed Media, Non-clay, Firing Process: Other, Surface: Non-ceramic
Portrait, 2021 Video, portraiture, and performance have been used extensively as a way to express identity, especially identities of us non-normies. These three mediums have the ability to exist within the world with a boundarylessness when representing the presence of the body. The history of portraiture is one that is explicitly connected to the representation of the western upper classes, existing as one of the earlier avenues of expression that visually represents the idea of world making, or in other words, the “wish-landscape.” These two facts about portraiture is also what makes it so useful when representing non-normies against and within normal culture. Similarly to how opulence can be employed, the iconic nature associated with representationally massive oil painting allows for the insertion of a queer body into that space demonstrating that non-normies can and will exist in that space. Flipping the iconic and traditional use of the medium on its head to critique the system and class that historically lays claim to it.
Jasmine Fetterman - "Queen Of Gold (Portrait from Pleasure Palace)"
2021, Variable , Media: Non-clay, Firing Process: Other, Surface: Non-ceramic
Portrait, 2021 Video, portraiture, and performance have been used extensively as a way to express identity, especially identities of us non-normies. These three mediums have the ability to exist within the world with a boundarylessness when representing the presence of the body. The history of portraiture is one that is explicitly connected to the representation of the western upper classes, existing as one of the earlier avenues of expression that visually represents the idea of world making, or in other words, the “wish-landscape.” These two facts about portraiture is also what makes it so useful when representing non-normies against and within normal culture. Similarly to how opulence can be employed, the iconic nature associated with representationally massive oil painting allows for the insertion of a queer body into that space demonstrating that non-normies can and will exist in that space. Flipping the iconic and traditional use of the medium on its head to critique the system and class that historically lays claim to it.
2021, Variable , Media: Non-clay, Firing Process: Other, Surface: Non-ceramic
Portrait, 2021 Video, portraiture, and performance have been used extensively as a way to express identity, especially identities of us non-normies. These three mediums have the ability to exist within the world with a boundarylessness when representing the presence of the body. The history of portraiture is one that is explicitly connected to the representation of the western upper classes, existing as one of the earlier avenues of expression that visually represents the idea of world making, or in other words, the “wish-landscape.” These two facts about portraiture is also what makes it so useful when representing non-normies against and within normal culture. Similarly to how opulence can be employed, the iconic nature associated with representationally massive oil painting allows for the insertion of a queer body into that space demonstrating that non-normies can and will exist in that space. Flipping the iconic and traditional use of the medium on its head to critique the system and class that historically lays claim to it.
Jasmine Fetterman - "Pleasure Palace North"
2021, Variable , Media: Mixed Media, Non-clay, Firing Process: Other, Surface: Non-ceramic
2021, 25 min Video, 12’ diameter Steel Ring, Holographic Vinyl, 400 pressed and dried Daffodils https://youtu.be/8v_vMawyXQg Pleasure Palace is a continuously evolving piece that has been in the back of my mind as something that I have known that I have wanted and knew I needed to do. It took me a long time to get here to this level of clarity but at least we got there. This piece explores the complex nature of identity as a universal concept, examining how identity develops and changes through time as a fluid thing. On a more specific level I want to bring up the politics of the body in relation to the feminine and the masculine as something that is intertwined, existing within a spectrum rather than within a system made up of binaries. Getting even deeper still, this work hopefully will exist as a framework for what could potentially constitute as queer architecture. Posing this as a place of potential, strength, and acceptance. In the northern space a thin steel ring hangs from the ceiling with a diameter of twelve feet. From that ring hangs a length of semi-reflective holographic vinyl with a pattern resembling a wallpaper made of hand pressed and dried daffodil flowers that fully encloses the shape. From the bottom of the vinyl there is a distance of free space that is about knee length, making the height from floor to steel ring to be about half a foot over average human height. The diameter isn’t much smaller than the diameter of the room, providing the viewer about three to four feet to walk around, giving it a strong presence within the space. Projected over the ring is a video that spans the entire width of the wall that runs for around thirty minutes within a relatively seamless loop.
2021, Variable , Media: Mixed Media, Non-clay, Firing Process: Other, Surface: Non-ceramic
2021, 25 min Video, 12’ diameter Steel Ring, Holographic Vinyl, 400 pressed and dried Daffodils https://youtu.be/8v_vMawyXQg Pleasure Palace is a continuously evolving piece that has been in the back of my mind as something that I have known that I have wanted and knew I needed to do. It took me a long time to get here to this level of clarity but at least we got there. This piece explores the complex nature of identity as a universal concept, examining how identity develops and changes through time as a fluid thing. On a more specific level I want to bring up the politics of the body in relation to the feminine and the masculine as something that is intertwined, existing within a spectrum rather than within a system made up of binaries. Getting even deeper still, this work hopefully will exist as a framework for what could potentially constitute as queer architecture. Posing this as a place of potential, strength, and acceptance. In the northern space a thin steel ring hangs from the ceiling with a diameter of twelve feet. From that ring hangs a length of semi-reflective holographic vinyl with a pattern resembling a wallpaper made of hand pressed and dried daffodil flowers that fully encloses the shape. From the bottom of the vinyl there is a distance of free space that is about knee length, making the height from floor to steel ring to be about half a foot over average human height. The diameter isn’t much smaller than the diameter of the room, providing the viewer about three to four feet to walk around, giving it a strong presence within the space. Projected over the ring is a video that spans the entire width of the wall that runs for around thirty minutes within a relatively seamless loop.
Jasmine Fetterman - "Never Wanted To Have to Be here"
2020, Human Scale , Media: Earthenware / Terracotta, Mixed Media, Firing Process: Electric, Surface: Non-ceramic, Unglazed
2020, terracotta, disco ball mirror, vinyl, latex, drywall, wood I am interested in the identity duality of a mascuine born body, and its relation to the spaces that it specifically has to exist in, creating a space that is both hyper personal and extremely detached.I want to explore this part of my identity that I am tied to because of my male born body and how being raised in that way and how those spaces influenced how I developed an understanding of myself. The public bathroom is a public and private space. The Urinal is designed for the use of male born bodies, and In the development of a male person's identity they become a sort of rite of passage into “manhood.” In itself the urinal is just a vessel, or depository for a human's by-product but in its layout, design, usual proximity to one another forces a confrontation and examination. The public bathroom becomes a stage and an arena for the performability to one's masculinity, forcing comparisons.
2020, Human Scale , Media: Earthenware / Terracotta, Mixed Media, Firing Process: Electric, Surface: Non-ceramic, Unglazed
2020, terracotta, disco ball mirror, vinyl, latex, drywall, wood I am interested in the identity duality of a mascuine born body, and its relation to the spaces that it specifically has to exist in, creating a space that is both hyper personal and extremely detached.I want to explore this part of my identity that I am tied to because of my male born body and how being raised in that way and how those spaces influenced how I developed an understanding of myself. The public bathroom is a public and private space. The Urinal is designed for the use of male born bodies, and In the development of a male person's identity they become a sort of rite of passage into “manhood.” In itself the urinal is just a vessel, or depository for a human's by-product but in its layout, design, usual proximity to one another forces a confrontation and examination. The public bathroom becomes a stage and an arena for the performability to one's masculinity, forcing comparisons.
Jasmine Fetterman - "Tandem Urinal"
2020, Human Scale , Media: Earthenware / Terracotta, Mixed Media, Firing Process: Electric, Surface: Non-ceramic
2020, Terracotta, Rhinestones, Sandblasted Mirror, Steel https://youtu.be/2BFHxu0qakQ I am interested in the identity duality of a mascuine born body, and its relation to the spaces that it specifically has to exist in, creating a space that is both hyper personal and extremely detached.I want to explore this part of my identity that I am tied to because of my male born body and how being raised in that way and how those spaces influenced how I developed an understanding of myself. The public bathroom is a public and private space. The Urinal is designed for the use of male born bodies, and In the development of a male person's identity they become a sort of rite of passage into “manhood.” In itself the urinal is just a vessel, or depository for a human's by-product but in its layout, design, usual proximity to one another forces a confrontation and examination. The public bathroom becomes a stage and an arena for the performability to one's masculinity, forcing comparisons.
2020, Human Scale , Media: Earthenware / Terracotta, Mixed Media, Firing Process: Electric, Surface: Non-ceramic
2020, Terracotta, Rhinestones, Sandblasted Mirror, Steel https://youtu.be/2BFHxu0qakQ I am interested in the identity duality of a mascuine born body, and its relation to the spaces that it specifically has to exist in, creating a space that is both hyper personal and extremely detached.I want to explore this part of my identity that I am tied to because of my male born body and how being raised in that way and how those spaces influenced how I developed an understanding of myself. The public bathroom is a public and private space. The Urinal is designed for the use of male born bodies, and In the development of a male person's identity they become a sort of rite of passage into “manhood.” In itself the urinal is just a vessel, or depository for a human's by-product but in its layout, design, usual proximity to one another forces a confrontation and examination. The public bathroom becomes a stage and an arena for the performability to one's masculinity, forcing comparisons.
Jasmine Fetterman - "Rite Of Passage"
2021, 10'x15', Media: Earthenware / Terracotta, Mixed Media, Firing Process: Electric, Surface: Glazed, Lustre, Pattern
2021, Terracotta, Monoprinted flocked wallpaper, rhinestones, Fringe This piece explores the complex nature of identity as a universal concept, examining how identity develops and changes through time as a fluid thing. On a more specific level I want to bring up the politics of the body in relation to the feminine and the masculine as something that is intertwined, existing within a spectrum rather than within a system made up of binaries. Dimensions: wallpaper is 10' across mirrors are 41"Hx26"W
2021, 10'x15', Media: Earthenware / Terracotta, Mixed Media, Firing Process: Electric, Surface: Glazed, Lustre, Pattern
2021, Terracotta, Monoprinted flocked wallpaper, rhinestones, Fringe This piece explores the complex nature of identity as a universal concept, examining how identity develops and changes through time as a fluid thing. On a more specific level I want to bring up the politics of the body in relation to the feminine and the masculine as something that is intertwined, existing within a spectrum rather than within a system made up of binaries. Dimensions: wallpaper is 10' across mirrors are 41"Hx26"W
Artist Statement
Jasmine Fetterman uses a multi-disciplinary and research based approach to explore the complex and fluid nature of identity as a universal concept throughout humanity. As an Eastern European, first generation American, they reference themes of western histories, mythologies, and aesthetics to explore politics of the queer body and its relationship to constructed space. Their desire is to create space to include and normalize queer bodies within film, media, and the art world. Focusing on the necessity of a utopic liminal/transformational space that they have labeled as queer architecture, to also question/critique the role of socio-economic class, gender structures, and hierarchies. They have shown around the West Coast, Pacific Northwest and the Southwest, most recently at the Henry Museum in 2021. They hold an MFA from the 3D4M program at the University of Washington completed in 2021.
Bio
I am a transgender artist that grew up on the penensula of Washington in the Pacific Northwest. There is a subtle yet undeniable elegance that exists within this landscape that helped shape my understanding of beauty and the world, and is the place that I have come to call home. When I started making art I was continuing a search for something that I had been searching for my whole life, though at the time I didn’t know where it was headed. Over the years my work has existed as a place and a framework for me to explore identity and sexuality. The understanding of what this body of work represents has shifted and altered over the years as a fluid, ephemeral thing changing as my understanding of my identity has grown stronger. I love my family dearly and I have so much gratitude for the way they raised me, but being gay not to mention transgender was something that was not acceptable and was kept hidden from them and myself a lot of my life. As the practice has progressed, more of the secrets that I had held close or didn’t even know I had, were being exposed and released into the world. Culminating at this point within my practice and the end of graduate school as a pretty ridiculous coming out story. I have been reunited with an old self as I begin this second life as Jasmine, or Jazzy as I like to be called.