JESSICA FROMM

About the Artist

 A decade working as an Urban and Regional Planner, struggling to promote change by direction and political influence, awakened a desire in me to MAKE something, something ACTUAL. The 3-year apprenticeship in cabinetmaking which followed, fed an added and even stronger urgency, to add personal creativity to my efforts as a maker. 

By enrolling in a Basic Drawing class I slipped into the rabbit hole of fine arts and 33 years later am still swirling in these eddies.  To drawing, painting and collage I have added 3-dimensional work in metal, designing distinctively personal decorative objects in copper, silver and gold.

As my work has progressed over time I have found that as varied as the resulting images and products may be from one another, present in its entirety are several essentials:
– I am an expressionist who intentionally invites the viewer into an active search, process and encounter with my work whether it be a gestural abstraction, an organized and linear painting, a drawing or a collage or a design in metal.
– I love the process of the hunt, the finding of the work, which results from grappling with my material.  I dive headlong into my work without planning and measuring. I am guided by a process I call ‘visual thinking’; it could equally be called ‘visual feeling’, because I seek to communicate by employing formal means- responding to what I see in color, proportion, weight of material, sense of touch; I leave the impress of my hand on all I do.

About the Work

My upcoming October 16, 2018 show, “ What Universe Are We Living In?: An Alt History” veers off radically from the trajectory of my work so far.  This body of work was prompted by the disturbing 2016 election cycle and all that has followed, most especially the destructive behavior of the new president whose words and actions threaten radical overturning of norms of civil behavior, of the democratic process and international agreements.

I spent many long, fallow months contemplating what approaches to art making were open to my particular skill set and the history of my oeuvre.  Outside events presented themselves to me as cartoon ideas as, to my frustration, they did to professional cartoon artists who published theirs long before I could find my own drawing vocabulary.  But once I started playing with appropriated images I was hooked on making these collages, gleefully transforming my intense negative feelings into savaging the protagonist.

 

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