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Jessica Loseby

views from the ground floor

Jessica Loseby, views from the ground floor, 2003
Jessica Loseby, views from the ground floor, 2003 Jessica Loseby, views from the ground floor, 2003
With her new, two-part, project, Loseby wants to set up a new space for her practice. On the one hand, all the while pursuing her interests based on the banal and the domestic, she seeks to develop a body of online works that could be described as an interactive both because of its length, its intensity and its narrative. On the other hand, this body of work will be presented in an exhibition space. This will be the first time that she will be confronting physical space, in the form of installations, in order to introduce her work into the context of traditional art and to hopefully broaden her audience. The installation will be presented in the form of two interactive projections, a video projection and a sculptural element.

Right form the start, views from the ground floor announces a tone that is different from her previous work. The work is presented as a series of scenes. One walks through the site moving from one scene to another, like so many chapters in a book. Again applying the montage and encrypting strategies she has refined over the years, the artist now infuses her work with a calm and melancholy atmosphere: the music is sometimes piercing, one hears the sound of bells rocked by the wind, childrens' whisperings, the sound of a dripping faucet, specks of light flickering on the screen, piano notes slowly falling off...

More ambitious than her previous works, views from the ground floor is a refined combination of the different elements brought into play in the elaboration of the work — visual, audio, and textual. Each scene is presented as complete, as having its own existence, but Loseby weaves webs of meaning between one scene and the other, provoking sensations, without, however, imposing a prescribed reading. One has the impression that the artist is giving more place to her family life. Her children always present in the past but in a more mysterious way, here become more and more present, be it only in the texts. A reflection on time, its passing, its fleetingness is also tangible here. It may be precipitous to use the word maturity when speaking of a young artist, but in the wake of her first works with their sarcasm and anger, this does seem to be the appropriate qualification for views from the ground floor, both on the level of form and content.

Jacques Perron © 2003 FDL