12sj Ce qu'il en reste VI,Stéphanie Jacques, willow, gesso, thread, 21” x 16” x 6.5”, 2016, $2,300 (On Hold)
8sj Wall / Mur, Stéphanie Jacques, willow, 59” x 90.5” x 13.75”, 2013, $11,000
7sj What Remains, Stéphanie Jacques, willow, gesso, linen thread, 36” x 33” x 13”, 2014, $6,000
4sj Paniers-liens III, Séphanie Jacques
carved wood (ash), white willow, hemp rope, red, wool, 21.25” to 43.25” x 15.5” x 17.75”,2011, $4,000
5sj Paniers-liens II, Stéphanie Jacques
carved wood (ash), white willow, hemp, rope, red wool, 22” x 17.25” x 17.25”, 2011, $4,000
6sj Tissus d’ombres, Stéphanie Jacques, print on canvas, wool embroidery, 35.5”x 35.5”, 2014, $1,200
9sj Sauvages Diptych, Stephanie Jacques, willow, 51" x 18" x 12", 2014, $4,000
1sj Panier-Imperfection, Stéphanie Jacques, wood, willow, raw clay, 19" x 49" x 24", 2010, $11,000
3sj Panier-maison II, Stéphanie Jacques
wood, willow, raw clay coated and limewash, 17" x 20" x 15", 2010, $4,000
Selected collections and exhibition venues: Open Air Museum, Fourneau Saint-Michel, Belgium; Maison de la Culture Famenne-Ardenne, Belgium (Miss Métonymie & Co., solo exhibition, catalog); National Vlechtmuseum Noordwolde, Pays-Bas, the Netherlands (Linking); Contemporary Center of Belgian Art, Luxembourg; Cultural Centre, Wanze, Belgium; Galerie Art’bre, Arbre, Belgium; Goalabré Ana, Auction House Osenat, Fontainebleau, France (Art Ecological and Eco-Design); Contemporary Art Center of Belgian Luxembourg, Belgium; Museum of the Ourthe-Amblève Comblain-au-Pont, Belgium (Approaches Plant); Cultural Center Famenne-Ardenne, Marche-en-Famenne, Belgium (Hands of Women); House of Crafts, Liège, Belgium (Regarding Women); World Crafts Council–Belgian French Community, Mons, Belgium (Dialogues; Who Does What; Applied Arts and Design Company); Edsel & Ethel Ford House Gallery, Grosse Pointe Shores, Michigan (Green from the Get Go: International Contemporary Basketmakers); Brussels, Belgium (Prix Louis Schmidt) Center L’Orangerie, Contemporary Art Space, Bastogne, Belgium (Cosy Corner: Objects of Authors, Objects of Life).
Connecting things is the foundation of my work: hard and soft, old and new, valuable and trivial, conscious and unconscious, human and plant.
With hindsight, I realize that what I develop in my work comes from this question: how to transform an object into a subject? In attempting to forge links maybe.
Basketry, cutting and assembly are my vectors. Far from mastering these ancestral techniques, I need to use them. They help me, inspire me, and give me the impetus to find my own solutions. Although they might be taxed as obsolete, they convey a certain freedom. Relying on oral transmission, experimentation, knowledge of the matter, free time.
Talking about life
Wood and wicker weaving gave me an impulse many years ago. However, plant matter is not the subject of my work. It is a means among others, just like the multitude of flexible materials available around us. But this means is not trivial. It connects me to what man has always done, shaping what he needs with his hands from what he sees around him. What matters to me is to talk about what is alive. Plants is part of living just as much as desire, the human body, intuitions, a certain wildness ...
Public space / private space
Whether during an activity in public or in my studio work, I try to observe and listen. Observe a landscape, a place, listen to people passing by, a trace, an intuition, something I perceive as alive in me or outside of me. Each sculpture, each installation is about this link, this thread, this way of life.