My drawings play with the gaps within languages, their representations, and the fields upon which they are rendered. The field of writing is the space of rhetoric; it both contains and conditions the text. On the one hand, the drawings literalize this play; on the other, the very concreteness of the drawings allows language and rhetoric to float above the limits of the drawings as objects.
I often use Braille because it’s a code that's immediately recognizable but not readable or comprehensible in visual form. The translations are given in the titles, which are integral to the drawings. I’m interested in how the drawings defer understanding, how meaning lags from the moment of seeing to the moment of comprehension. This lag is perhaps most obvious in the Braille works but operative in all of the drawings.
The papers I choose are often mass-produced, printed tissue and wrapping papers, which I treat as if they were fabrics. I begin by ironing out their folds, which distorts their paper-flatness and makes the support on which I’m working resistant to an exact rendering. So that even if I’ve gridded out the image, or make a two-layered drawing that depends on registration, there will inevitably be some distortion. When I display these works, they hang and shift like banners.
At times, I also often use my fingertips to draw, whether it is to “read” the Braille image after I've "written" it in the pencil on vellum drawings, or to feel out the image in the St. Lucy drawings, which are drawn in the dark using a projector and my hands.
Artist Bio / CV
Jeanne Marie Wasilik is a Brooklyn-based artist whose work has been seen regularly in group and solo shows, including exhibitions at Artists Space, the Hudson River Museum, the Painting Center, the University of Massachusetts at Amherst, Exit Art, Anthology Film Archive's Courthouse Gallery, the Whitney Museum of Armerican Art, the Lower Manhattan Cultural Council, Queens College, and Chashama Gallery.