Woodcut37 x 33 1/2 inches (94 x 85.1 cm)
Edition of 45
Jacquette depicts the famous waterfront vista of Chicago using one color and the negative space of the woodcut to delineate
light and the effects of moonlight. The richness of the black printing provides intensity, allowing Jacquette to capture the pulse of the city in the heavily striated rendering of Lake Shore Drive. This main artery bisects the luxury high rises of Chicago’s Golden Coast, the Oak Street Beach, and Lake Michigan. A small boat floats east of shore. Not only does Jacquette explore the duality of the city’s complexity with the surrounding nature’s simplicity, but she also juxtaposes the linear lines of the city, curvilinear lines of nature that is evident in the bend of the coast, the outstretched jetty, and the mandorlic shape of the beach. The image is based on her view of the city from various vantage points, including the Sear’s Tower and the window of an airplane. Like the majority of her woodcuts, which Jacquette typically spends a year or more hand-cutting, it is printed in black ink on Japanese Okawara paper. She prefers this material for its natural contrast and ability to smoothly absorb the dense ink.
The woodcut technique allows Jacquette to simplify numerous planes and focus on the differing cuts of lines as they establish the illusion of space and perspective. Working in the resistive process of hand-cutting wood, she achieves several contrasts: black and white, superficial and natural, complex and simple, movement and stasis. The title, Filaments of Light, continues this theme of dualism as filament is suggestive of industry and light of nature, though both remove darkness. The removal of wood filaments from the flat surface of the block allows light to be communicated and the touch of these filaments attempts to restore some intimacy to a grandiose view, a metaphysical sense to a realistic viewpoint.
Published by Mary Ryan Gallery.
The woodcut technique allows Jacquette to simplify numerous planes and focus on the differing cuts of lines as they establish the illusion of space and perspective. Working in the resistive process of hand-cutting wood, she achieves several contrasts: black and white, superficial and natural, complex and simple, movement and stasis. The title, Filaments of Light, continues this theme of dualism as filament is suggestive of industry and light of nature, though both remove darkness. The removal of wood filaments from the flat surface of the block allows light to be communicated and the touch of these filaments attempts to restore some intimacy to a grandiose view, a metaphysical sense to a realistic viewpoint.
Published by Mary Ryan Gallery.