Of Empathy, Appropriation, and Time: Gillian Jagger
by Edward M. Gómez
How do you solve a problem like Gillian Jagger’s label-defying work? It does not fit into any familiar art-market niche and
confounds many of the art establishment’s trend-conscious poobahs. It is not postmodern-ironic, nor does she send her designs
out to nameless fabricators to be manufactured—bigger, shinier, more expensive—and then sold to trophy-seeking Russian oligarchs or oil-rich Qataris. Certainly, many of her mixed-media works are large—and complex and unusual, too—sometimes incorporating the dried bodies of dead animals or rusty sections of farm implements.see the entire article in the print version of January/February's Sculpture magazine.
Rift, 1999. Calf stanchions, animal bones, farm implements, and barbed wire, 11 x 30 x 20 ft. View of installation at Jagger’s studio. Photo by David Lackey, Whirlwind Creative