Jamie Bischof

Without Title

TECHNIQUE Aluminum and polyurethane tube
YEAR 2014

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Jamie's capacity for innovation is like a metabolism in full action that regenerates cells and tissues causing constant youth. The series is conceived from a different vocabulary. The use of new materials was crossed by those already used. The same concerns are said differently. The search is always encrypted in another alphabet and has culminated in the new language.

Aluminum, its faithful ally, has found today a new companion, the gray plastic tube of steely appearance. Both rehearse dances and each one gives the other the best pass. Twist and distortion, balance and angles, return, dislocations and obstructions reappear. The following movement is also interrupted and blocked. Jamie takes advantage and lets the curves circulate, insists on them through parallel lines, but also dominates them with scribbles around.

This time, Bischof uses the helix or helical curve, which is a somewhat stubborn, even curve formed by tangents of a constant angle. It follows a fixed direction in space and develops around an axis. It is that kind of curve that generates cylinders, funnels, snails, springs, screws, and DNA among many other forms. It is found in all types of pipelines, in snakes, in the basic principles of mechanics, in complex machinery, in peripheral rings, in the "razor ribbon". It has also been used in classical sculpture (the Laocoon), in the Baroque (Bernini) and in the architecture of Gaudi and Lloyd Wright, among others.

Explicitly but also poetically, these sculptures and reliefs propose, through industrial materials, a different lexicon, but they remain an echo of Jamie's internal voice. - Silvia Herrera Ubico


Lives and works in Guatemala.

American painter and sculptor, living in Guatemala since 1960. Intelligent, creative and analytical woman, tireless seeker of expressive resources. Rather than being considered a conceptual artist, Jamie describes herself as a receiver of visual art, open to experimentation.

She studied at the California College of Arts and Crafts, San José State University, California. After 10 years of living in a country house on the Guatemalan South Coast, Bischof moved to Guatemala City, at the end of 1960. That change motivated her to return to visual art studies under the influence of artists such as Daniel Schafer, Margot Fanjul, Luis Díaz, Zipacná de León, and Marco Augusto Quiroa.

She has presented her work on several occasions in Guatemala and has participated in seventy-six collective exhibitions, mostly in Guatemala and in the United States. Her work won the Honourable Mention, in the category of painting, at the Subasta de Arte Latinoamericano Juannio in 1970. She won the Unique Prize at this event in 1971 and another Honourable Mention, in 1972. In 2008, the G&T Foundation and the Alexander Von Humboldt Cultural Association awarded her with the Foreign Artist of the Year Medal. In 2010, the Junkabal organization honoured her as the Artist of the Year and in 2018, she was awarded by Funsilec, del Arte al Niño.  

Bischof has developed a style where the line, used with unique neatness, is the protagonist. Talking about her aesthetic proposal, she has recognized that Mayan art, its traditions, its colors, its curves, and its precise lines has directly influenced her work.

Her artwork belongs to important private collections in Argentina, Brazil, the United States, Guatemala, France, Italy, and the United Kingdom. Her work is also part of the Miami Metropolitan Museum and Art Center’s collection, the Universities of Auburn and Alabama, and the J. Walter Thompson and Associates collection.

A series of texts, written at different periods by different personalities, that remain very eloquent nowadays.

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