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OF THE MEASURABLE AND THE IMMEASURABLE SERIES
Since 2007, Jamie returned to her workshop and began with a productive delirium, since then, far from being interrupted without having done, but to gain more strength, we have seen a range of works placed in different galleries in individual and collective shows. During that year, aluminum retained the assembly of its last pieces made in 1982 and with references to the Mayan world and colonial macaques. Little by little, the configuration of her works was changing: they opened, let air circulate, the lines, the edges and the recesses generated new structures thanks to the empty and full ones reflected in the walls. Later, she incorporated the wood into wall sculptures and exempt pieces, this material gave heat to the stunning brightness of aluminum. The geometry of right angles, but dislocated, betrayed and announced what has always intrigued: the construction and the rupture, the composition and the decomposition, the measured and the unmeasured.
Today, with more evidence, the patent is revealed: the excessive measure, the conscious control of an overflowing unconscious. The appeasement through hard and tiring work a fickle and tireless imagination. In this also chance has its own, because it is not the first time that the fortuitous and the "unwanted" is imposed by security and an unexpected finding.
John Cage - an artist who trusted everything randomly - with his random compositions and his famous work 4' 44'' where silence is what you have to hear, finds a tribute in the work Twelve Silent Poems. This visual poetry has the appearance of a keyboard, and the rhythm of the unforeseen, with long notes in strips of different lengths, with staccatos written by screws, with our casual and random presence listening to and modifying it.
Saint Augustine said that the measure of love is love without measure. Measuring is limited and in true love, the limit does not exist, it fades away. In art, as in love, the measure ends up eluding moderation. The artist knows it and says it in her own way with these balanced pieces, subtly offset, screwed from an apparent order, assembled with the precision of imperceptibly uneven joints. - Silvia Herrera Ubico
JAMIE BISCHOF (1938)
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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