“Making” is rooted in the act of play for me. I see parallels between the systematic approach one uses in making art works and the rules one follows while playing games. This observation has motivated me to employ chance operations in determining the final form of each work through the act of playing a game. Some pieces are designed to allow others to take the lead in constructing the forms by playing the game. By allowing others to construct the work my hope is to demystify the art-making process, removing the perception of art as an activity solely for those who possess “talent.” Using chance operations insures the work remains fluid, allowing each form to always be different. This process also allows me to minimize my own agency, stay present, and keep the experience mysterious.

ArtConnect asked the winning artists to share with us a glimpse into their creative life to get a sense of their personal inspiration and artistic process.

What are some of the central themes you pursue in your work?

I suppose I am more process oriented at the end of the day. I would say I am more interested in materials than making images. I've been using recycled and repurposed materials for the last couple of years. I'm inspired by mundane objects as materials to "draw" with. I like straddling the line between something that is immediately recognizable and something you have to give a closer look. I like that play. Lately, I've been using chance operations to determine the final form by creating games for participants to assemble the work. I'm not interested in perpetuating art as something that exists separate (higher) from unschooled everyday people. I don't see it as something only folks who know the language can appreciate or even do.

How has your art practice developed over time?

I just have always done it. I can remember pictures I drew in 1st/2nd grade. Eventually I majored in it in college.

What drew you to work with your medium/media of choice?

I come from a painting background and have moved more into three dimensional work the last couple of years. That's probably the biggest change. However, I have maintained an aesthetic that is largely, minimalist or reductive in approach. The thread that holds all the work together is that it has always been about the physicality of labor and the relationship one's body has to the world. I tend to use accumulation and repetition as a means to come to a resolution in the final form.

What are the biggest challenges you’ve faced as an artist?

The distribution side of the "art world." That is, getting shows, applying for things etc. - the business side of being an artist. It doesn't come to me naturally. It takes a lot of internal fortitude.

Describe a typical day in the studio/wherever you make your work.

My studio is connected to my house. So I often find myself migrating between these two worlds. Do a little painting, go throw a load of laundry in, glue something together, do the dishes in the sink etc. My work doesn't demand that I need 4-8 hour chunks of time at a stretch to get something done. They tend to be micro bursts of activity throughout the day and night. Because it is relatively repetitive, I can stop and come back if I need to and it doesn't really affect the outcome.

What future directions do you envision for your work?

I don't know the answer to this. I only know what to do from what I just made previously. I'm wondering if my work is moving toward existing more in a public context outside of gallery/museum institutions.

See more of Tom Jessen’s work

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