Jessica Palomo - Paradisae Tuberosa
Jessica Palomo - Orchidaceas IV
Jessica Palomo - Syringa Vulgaris V
Jessica Palomo - Brunia
Jessica Palomo - Rosaceae
January 17th – March 14th, 2020
Jessica Palomo is currently in the Project Room during the group show Pigment featuring works by Louise Blyton, Makoto Fujimura, Raphaëlle Goethals, Judith Kruger and Hiroko Otake.
Jessica Palomo is a phoenix-based artist who works in drawing and sculpture to investigate uncomfortable situations. Her current work is in response to disease and the unseen relationships that they can bring. Her drawings use organic and bodily references to focus on the tension and balance of the beautiful and the ugly. Jessica has an MFA from Arizona State University, Tempe, AZ., and a BFA from Southern Methodist University, Dallas, TX. She was the artist in residence at the Palazzo Rinaldi in 2011 with a solo exhibition in Noepoli, Italy. She has been the recipient of multiple awards including the Nathan Cummings Travel Fellowship and the Martin Wong Foundation Scholarship. She has shown her work extensively in Arizona, Texas, as well as several other places nationally and internationally.
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Jessica Palomo is a phoenix-based artist who works in drawing and sculpture to investigate uncomfortable situations. She received her BFA in Sculpture from Southern Methodist University in Dallas, TX and her MFA in Drawing from Arizona State University, Tempe, AZ. Her work has been exhibited internationally at the Palazzo Rinaldi in Italy, the Contemporary Art Space in China and locally at Tucson Museum of Art in Arizona.
Her work is a response to the grief of losing a loved one, a trauma that can overload and fracture the conscious mind, causing a shattered emotional state. Through abstraction and mark-making, she explores the dynamics of this ruptured reality that place identity and emotion in a liminal, ambiguous space. By rendering only a handful of distinct organic forms, the eyes rest merely for a moment before plunging into a sea of textural marks. These expressive involuntary marks do what language cannot, intuitively creating a passageway to concealed memories, recording a trace of their complexities through drawing, and ultimately logging the intricate and multifaceted sensations of suffering in hopes of creating a truer empathetic connection. These drawings speak from the body, connecting, sustaining, and transmitting traumatic impressions with each varied gestural mark. The overall encounter is ambiguous in form and liminal in space, fluxing in perspective, and never providing a sense of clarity.
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