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JILLIAN SOKSO

Artist statement

Artist Statement JILLIAN SOKSO

 

My work is a visual extension of thoughts; part personal archive, part recollection and reiteration of memory. I'm influenced by biographical history, my immediate surroundings of the Willamette Valley, and pondering connections between humankind and the natural world. 

£380. One of a kind, 1/1 hand pulled fine art print. Even If It Is Not Dawn by Jillian Sokso

£380. One of a kind, 1/1 hand pulled fine art print.
Even If It Is Not Dawn by Jillian Sokso

£380. One of a kind, 1/1 hand pulled fine art print. Map Error by Jillian Sokso

£380. One of a kind, 1/1 hand pulled fine art print.
Map Error by Jillian Sokso

Current research interests surround the history of feminism, ecology, trophy taxidermy, culture wars, and the anthropomorphism of furniture.In the studio, I focus on a variety of print media and works on paper. Handmade Japanese Washi is a consistent thread in the work. Focusing on the nature of the mark-making various print media allow, rather than the reproducibility of image through process, I work almost exclusively with one of a kind images as opposed to edition printing. I consider all my studio practice to be a collaboration with the media I use, attributing the work's results to my own hand as well as the nature of print and drawing.

Description of process:

I begin working by making a series of drawings and stencils with imagery pulled from photographs I take from the environment and other inspiration resources: textile patterns, architecture, geologic forms, landscape and vegetation. I work with stencils and print media plates/matrixes in screen printing (serigraphy), etching, and relief. After laying down flat and variegated areas of color with relief ink, I work with the various matrixes to build up a composition. Each work, while employing reproducible media, is one of a kind. I do not edition my prints, so I think of them as drawings or paintings more than anything. Works on paper for me are a collaboration with the master papermaker or washi- master. I use almost exclusively Japanese papers of kozo and gampi fiber. The delicacy of the paper adds content to the work- the ephemeral ideas my work speaks to (the fragility of the environment, human relationships and fleeting beauty) requires the vehicle of the warm, strong, yet translucent and delicate -looking paper surface.

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