Jessica Houston

Bio

Jessica has traveled to the Arctic on numerous occasions, including as an invited artist aboard a Cape Farewell voyage. She has created site-specific works for the New Jersey MOCA, Asbury Park, New Jersey; the Castello di Corigliano, Puglia, Italy; Governors Island, NY, NY and The Albany Airport, Albany, NY. Select exhibitions & projects include Art Mûr Gallery, (Montréal, QC); Light on Sound (collaboration with Maya Pindyck), Lewis Latimer House Museum (Flushing, NY); Art in Odd Places (NY, NY); International Polar Year Conference (Oslo, Norway); Printed Matter (NY, NY); Museum of Contemporary Art (Detroit, MI); Arts House (Melbourne, Australia) and Chiesa di San Lorenzo (Florence, Italy). She has been awarded residencies at The Albers Foundation in Bethany, CT; NES in Skagaströnd, Iceland; at the CAMAC Centre of Art, Science and Technology in France; and with Rosenclaire in Italy. She is the recipient of a project grant from the Canada Council for the Arts in 2017. She teaches at The Metropolitan Museum of Art, and she has lectured at Columbia University; The New School Parsons; Concordia University; Ontario College of Art & Design University; Montréal Museum of Fine Arts; and The Art Institute of Florence, Italy. Her works are in the collections of La collection Prêt d’œuvres d’art (CPOA), Musée National Des Beaux-Arts du Quebec; Bank of Montréal, Toronto; and the Consulate General of Monaco, Montréal.

Jessica Houston’s multimedia works concern perception, ecology and time. With minimal means, using painting, photography and installation, she quietly advocates for a reawakened sensitivity to our natural world. She has worked in Iceland, the Arctic, Italy, the US and Canada on projects that involve communities and their relationship to place. Creative analysis of latent forces—physics of light and color, the movement of the sun—allows prolonged engagement with something that unfolds slowly, in real time. The way the viewer sees the constantly shifting work—through a tinted window, or a reflected color—points to the changeability of perception. Color lies at the boundary of what we (think) we see; its instability evokes contingency, context and flux. In this way, color interrupts the visual grammar, inviting viewers into the gaps. Her projects speak to the fragility of our changing natural world, and our nature within it.

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