The artworks of New York-based Jamie Isenstein (b.1975, United States) confront the visitor with the unexpected and inexplicable. Isenstein explores the interplay of performance and sculpture, contesting the status of sculpture as an inanimate object. By inhabiting the artworks with her own body, Isenstein combines sculptural practice and ‘endurance performance art’ with elements of absurdist humour.
In many of her objects and theatrical installations, the artist is contained within the object itself, her body never fully revealed. Even when Isenstein is not performing the piece, a temporary sign stating ‘will return’ or ‘gone fishing’ is displayed to ensure that the artwork continues. Drawing inspiration from Surrealism, in particular the paintings of René Magritte and the writings of Georges Bataille, Isenstein’s work explores the idea of the uncanny, and notions of revelation and concealment, presence and absence.
For Touched, Isenstein presented a new work that involved the artist’s presence over the entire duration of the exhibition. In the centre of the gallery sat a large cluster of stuff: furniture such as tables, a chair and a fireplace, and things from everyday life – among other decorative objects, a bronze sculpture and a pile of books – haphazardly pushed to the centre of the room. The setting alluded to the stacked interior of what might have been a drawing room in Second Empire style, or the stage props of a theatre set for the Sartre play No Exit.
Empire of Fire, 2010
Mixed media
Commissioned by and exhibited at Tate Liverpool
Liverpool Biennial
55 New Bird Street
Liverpool L1 0BW
Liverpool Biennial is funded by
Founding Supporter
James Moores