tanqué Tôp, 2016, embroidered leather wearable piece, found beading, plastic detritus, wire, thread
Spéçiâle Tïśśū, 2016, silk scarf, plastic, beads, embroidery
À moménte, 2016, deflated balloon, scrap fabric, beads
Untitled (Sound for Anthropocene), 2016, audio, iphone, shell
The anthropocene is an epoch of contrast and contradiction. Characterised by great advancements and great losses, rapid cultural achievements set against the decay of the earth. With these advancements come different systems of perception in which value is redistributed—aesthetic value is now found in the halls of museums and the glow of retina displays, intangible, while the ugliness of rubbish around the lip of a gutter is banal and invisible. I’ve gathered materials from places like these, I treat the waste with the same subtlety and fragility as any other material, weaving Gucci ribbons and discarded headphones into the work. I use intuition and awareness of pictorial space to create spontaneous compositions. The results are psychological landscapes realised as tactile artworks.
Zoe Jackson works in a variety of media including painting, embroidery, video and sound. Tactility, fragility and space are all important aspects to Zoe’s abstract compositions. Collecting images, materials and sounds, works are often created out of fragments of cultural relics and refuse and are rearranged into tactile constellations. Intuition, emotion and spontaneous response are imperative to her practice. Zoe is about to commence her third year of studying a Bachelor of Arts (Fine Art) at RMIT University following a semester of study abroad in Paris, where her works inspired by the Anthropocene epoch were created from gathered detritus and materials.