I am a collection of atoms called Jessica Tawczynski.

Right now, I’m curious about black holes, monoliths, atoms, alters, ruins, spirituality, vessels, boxes, perception, architecture, spatial agency, momentum, thunderstorms, doors, windows, gates and portals, language, palimpsests, information and accumulation, critical mass, event horizons, quarks, the magnetic field and the sublime.

We know the world only through interaction—the visual language tells us that story. My work utilizes various methods of mark making that mimic drawing, including: scratching, scribbling, scraping and ticking. The paintings unfold as monoliths, in which every part of the surface has been touched, and that represent the body as vessel. These works seek to confront immortality, faith and human understanding of nature. 

In the series of selected new works, the altar like compositions are informed by my personal identity as a science-oriented, non believer, grappling with a strict Christian upbringing, as well as scientific ideas relating to black holes and event horizons, quantum mechanics, philosophies pertaining to perception and the sublime, and contemporary discourse concerning spiritual abstraction and painting. 

Tawczynski lives and works in Brooklyn, NY.

 

    "The exhibition, Rhizome, highlights artist, Jessica Tawczynski’s interest in the philosophy of the Rhizome, presented by Deleuze and Guittari. The Rhizome is identified to be something like a root system or a map; something that cannot increase in number without changing in nature, a reality that is always transforming, stuck in a cycling present moment. Tinkering with scientific and philosophical theory, and demonstrating the collaboration between academic and experiential knowledge, Tawczynski creates a visual language that implies an intuitive, transforming kind of logic. Tawczynski’s exhibited work is made of multiple prints. Collaged together, they create and utilize the dialogue of drawing, painting, and print culture. This language is built of interactions across the surface, echoing the movement of a kind of organism, transforming landscape, or systematic structure in which things pop in and out of existence. Rhizome, creates a performative reality, invoking a method of looking that intensifies periods of uncertainty. Ultimately, the work unfolds as an experimental investigation of the nature of things.”

— Excerpt from "Rhizome", Deiglan Gallery, Akureyri, Iceland, 2017