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Jenn Cacciola
Brooklyn, NY
Neighborhood: Bay Ridge



ARTIST STATEMENT: How does an artist depict someone who's too familiar, or a stranger, someone no longer living, or whom they've never seen? Through its documentary and research-based process, Jenn’s work becomes a home for pain. Pieces become places where people can be with the pain of others. This form creates a way of being with pain that's sometimes easier to do than when in front of the person whose pain it is. Various levels of successful communication within her own relationships inform some of the specific questions in her work: How do you accompany another in their pain? Can pain only inspire dwelling? Can wonder exist in pain? Her work makes the claim that pain is worth listening to and worth being the soundtrack to forests, snow, interiors, faces, etc. She allows pain to have a comfortable place to be around people. Isolation, aging, vulnerability, and the ways in which all of these factors affect our ability to know one another serve as a few recurring themes. Though her earlier work related more directly to portraiture, she currently utilizes a kind of anthropomorphism to answer the question, “What are the criteria of a portrait?” Can a portrait be found in stones and leaves? Can a portrait be present in the way that a piece hangs or sits in a gallery—Quivering and small, brought out from the little studio into a big, unfamiliar space? Unlike in most comparable subjects, permission and patience play key roles in the making and viewing of a portrait. Many of Jenn’s works therefore address viewers individually, sometimes imposing themselves or calling to viewers in a way that physically establishes an almost private relationship between the piece and its visitor. They induce the experience of listening deeply, as she views her artistic position as being a listener. This position directs her adoption of each new medium depending on the voice of each project. For this reason, her work touches on a multitude of mediums and subjects, with an identifying tactility and stillness that is common throughout. Her pieces generally take form in tapestry, sculpture, painting, and installation—sometimes involving audio components. Her current endeavors include large-scale, layered, textured tapestries involving audio interviews. Jenn Cacciola is a NY and CT-based artist and educator originally hailing from Port Chester, NY. She received a Bachelor of Science in Visual Arts from SUNY Purchase School of Art + Design. She has exhibited in various New York venues and has been awarded Artist-in-Residence positions at the Sheen Center For Thought & Culture in Manhattan, NY and Manassas National Battlefield Park in Manassas, VA. Her works can be found in the National Parks Foundation’s public collection and in private collections within the United States and Europe. She has most recently joined the governing body of Openings Artist Collective. She has previously taught PreK-12th grade Art in NYC schools, and worked as an Art Educator with the New-York Historical Society, the NARS Foundation, and Wingspan Arts. She has also assisted in art forensic and conservation projects for collections at the Hispanic Society of America Museum, PepsiCo Sculpture Garden, and TONDO Art Forensics Lab in Budapest, Hungary.
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  • Villanelle for French Horn, Dukas (Farewell to the Highlands, Farewell to the North, The Birth-Place
    2016
    Hand-Embroidered/Painted Carpet and Fabric
    10"x14"

  • Barabbas's Garden
    2018
    Multimedia embroidered/collaged tapestry, pastel, acrylic, oil on canvas, wire, printed image, epoxy resin, audio set-up.
    7'x30'
    Barabbas's Garden examines how growth occurs while a person is constantly affected by environments, decisions, circumstances, and the intersection between the self and others.

  • Bouquet 2
    2018
    Wood Lithograph and pastel
    36"x38"

  • Bouquet 1
    2018
    Wood Lithograph and pastel
    38"x39"

  • Mouth
    2018
    Wood Lithograph, marker, acrylic and pastel
    40"x69"

  • Is He Who You Wanted Him To Be?
    2018
    Wood lithograph, mixed paper weaving, marker, acrylic and pastel on paper.
    40" x 64"

  • The Choir
    2017
    Multimedia: Audio, paper mache, epoxy resin, acrylic, thread, nails, printed photos.
    7'x5'x4'
    Info at: http://www.jenncacciolastudio.com/the-choir

  • Noli Me Tangere
    2015
    Embroidered Farbric
    18"x30"
    Taken from a sketch of grandmother sitting at the edge of her bed in the middle of the night, illuminated by the night light, this tapestry examines the "Noli Me Tangere" scene often depicte

  • The Deposition (Detail)

  • The Deposition
    2015
    Hand-Embroidered Fabric
    8'x8'

  • The Deposition (Detail)

  • Noli Me Tangere (Detail)

  • Noli Me Tangere 2
    2015
    Hand-Embroidered and Machine-Sewn Fabric
    20"x32"
    Noli Me Tangere 2, begun after my grandmother's passing, focuses more heavily on memory of the physicality of a face versus the more abstracted expression of a face (through a focus on personalit

  • Noli Me Tangere 2 (Detail)

  • Jupiter, The Bringer of Jollity (Chasing The Wild-Deer and Following The Roe)
    2016
    Hand-Embroidered/Painted Carpet and Fabric
    11"x14"

  • The Fever (Detail), Chopin Nocturne Op. 15 No. 3 in G minor (Rubinstein or Richter)
    2011
    Oil on canvas on panel
    24"x36"

  • Ecce Homo (Subway Sleeper)
    2015
    Terracotta, acrylic and thread on paper, leather shoes.
    20"x18"x15"

  • Ecce Homo (Detail)

  • Ecce Homo (Shoe Detail)

  • Negra Modelo (Lola's) 1
    2015
    Oil on Canvas
    5'x2.5'

  • Negra Modelo (Lola's) 2
    2015
    Oil on Canvas
    5'x2.5'

  • Negra Modelo (Lola's) (Detail)

  • Negra Modelo (Lola's) (Detail)

  • The Shroud
    2015
    Acrylic on linen, metal wire and pulleys.
    24'x19'
 








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