Jessika Edgar, Installation view of Hypothetical Self-Contained Separate Reality
Jessika Edgar’s exhibition Hypothetical Self-Contained Separate Reality is made up of colorful curiosities. Her sculptures are arranged about the room at varying heights and means of support. Each piece is appealing to the eye, stimulating in shape, and compelling texturally. These are pieces that make viewers want to reach out and interact with the art. In her statement, Edgar credits her inspiration to George Bataille’s concept of “l’informe.” This concept challenges the visual artist to create a form that in theory doesn’t have one. Some forms of “formlessness” have included tangle, fluff, foam, and fat. Through her sculpture, Edgar experiments with formless objects, or objects that “evade classification and meaning,” which makes her pieces difficult to categorize or label.
Jessika Edgar, Lumpy, 2015, ceramic, sprayed rubber, expandable foam, aluminum leaf, stool and spray paint
One sculpture, titled Lumpy, does just that. A pearl, marshmallow-like mass crawling out from a silver encasing, the sculpture manages to somehow look appetizing as much as it does an alien life form. Specifically, the lack of construction implied by the idea of formlessness has been turned on its head here. Edgar explores the impact of socially constructed identity and value, while referencing contemporary popular culture and mass media influences. In her statement, she specifies that her sculptures and installations “illustrate media imagery, especially related to gender, beauty, and material desire.” Combining pleasing forms with darker implications, Edgar evokes “cognitive dissonance.” She wants to draw attention to this idea by “creating a psychological space that is simultaneously critical and indulgent.”
Jessika Edgar, Legs that go on for days, 2015, ceramic and vinyl
Aesthetically, Edgar’s sculptures are beautiful and well crafted. Her thoughts regarding cognitive dissonance and social constructs; however, lurk in the same space that at first felt whimsical. Her piece Legs that go on for days is an image ostensibly tied to gender and beauty. The “legs,” which rest upside down and criss-crossed, cast a shadow on the wall. The sculpture itself is highly textured and colored in hues of green, but none of that is reflected in the ominous shadow. Only looking at the shadow, the soft legs are uncrossed, becoming looming, sharp, and scissor-like. This piece is suggestive of Edgar’s ideas on popular culture and mass media distorting our sense of reality, just as the shadow of Legs disfigures the truth of the sculpture. She says, “I am someone who consumes a lot of media. I will binge watch TV shows and movies while I work in the studio, so much so that it has become a necessary part of my studio practice. Also, I love glossy shiny advertisements in magazines. I like the images, the colors, and the sexiness. While I often draw directly from colors and the sheen of magazines advertisements, I am also interested in the way that the female body is cropped and dissected in these images.”
It is also worth noting that this sculpture is placed at the south wall of the room, along with another sculpture titled Used and Abused. This pink mass of rolls stacked upon rolls spills over the delicate stool it sits on. This piece suggests conflicting messages concerning body image and beauty. In contrast, the sculpture in the forefront of the exhibit, Curly Q, sits neatly on a box resembling a gift box, coated in dazzling wrapping paper. The form of Curly shifts in both color and shape. Much like a vase, the bottom is wide and bulbous but goes on to form a smooth neck just before, as the name suggests, there is a curl at the top, altering the direction of the piece. The presentation of Curly as a gift and the mutation of form reflects Edgar’s aim to highlight material desire and how our ideas about what we value aesthetically, whether it be in how we look or the things we buy, can be easily changed. The arrangement of the sculptures feels significant because the tug of war between the criticism and indulgence heightens in intensity as the viewer moves through the room.