Jodie Vicenta Jacobson, "Paonia", Colorado, 2002, C-print.

Jodie Vicenta Jacobson, “Paonia”, Colorado, 2002, C-print.

Jodie Vicenta Jacobson

With the same human intuition that compels me to eat, sleep, have sex, and breathe, I make photographs. From the moment I was given my grandfather’s camera, I became engaged in a love affair with the frame. Making pictures is a part of my everyday life. It is the subtle beauty of my daily experience that compels me to capture what would otherwise go unnoticed. I find aesthetic virtue in the ordinary, while simultaneously seeing beauty in highly personal engagements.  I see my pictures as formally reconciled compositions dedicated to the human experience and the overlooked poetics of light, shade, color and mood that exist in our very homes, streets, landscapes and families. As I see it, the fragmented nature of the human consciousness is reflected in how I react to what presents itself to me as interesting and possible subject matter. The way I take pictures and the way I put them together is analogous to the human thought process. It is actually quite simple. The tangential modes of thinking are quite poetic. One does not always think in a linear fashion, there are voluptuous interruptions that keep life interesting. I am seduced by these sensual disruptions and aestheticize them photographically in a way that in turn hopefully seduces whomever may encounter them. I use my aesthetic sensibilities in order to create what may be viewed as beautiful and compelling by any person from any walk of life. In this case, my pictures function as reflections of universal feelings, or memories. The thread that ties together all of the work I have done thus far in my life is me. It is my eye that guides me through life, picking out what unveils itself to me as compelling both aesthetically and situationally, while choosing to render it using light, shade and the elegant frame. Framing is like painting, the edges are my paintbrush. Influenced by as many painters as photographers, I like to see my style as painterly. The transcendental colors of a Barnett Newman painting are as important to me as I compose as the raw feelings of humanity emoted in a photograph by Roy DeCarava. The poems of William Carlos Williams use words to say what I endeavor to say with images.  In my eyes, the “unconscious optics” talked about by Walter Benjamin, and the “blind field” suggested by Roland Barthes are two psychological ideas that are imbued with the mystery of the unconscious, and give life to my method in the same way the aforementioned artists operate within the liminal space between suggestion, the unknown, and the commonplace.  I hope to reconcile what is outside the frame with what lies in the imagination of the viewer.  I mean to create the desire to step into the frame, to make the place habitable, the person accessible, the color or the tone a luscious invitation into my world within the world.

Jodie Vicenta Jacobson, selected by Andrea Modica, is currently working toward her MFA at Hunter College in NYC. She received her BA in Studio Arts from Colorado College in 1999 and was a Woodstock Photography Workshop intern that same year. She has worked with numerous galleries including Robert Mann, Yancey Richardson, and John Stevenson, all in NYC, and is presently a teaching assistant to Lois Connor and Roy DeCarava, both at Hunter. Prior to this show she has shown at Princeton University.