Roxanne Jackson

How did you get into making art?

I can’t remember not making art; I grew up doodling, painting and making collages–all 2D stuff. When I was very young, as young as 4 years old, my dad drew silly and surreal cartoons that I would color; he would compliment on how well I stayed within the lines with my chunky crayons. Excellent craftsmanship was encouraged from the very beginning. It wouldn’t be until much later, studying at a community college, that I would take my very first ceramic class. A few years later when I was an undergraduate student earning a botany degree, I took ceramics again and that inspired me to minor in art. Working with clay changed the trajectory of my life in a profound way.

What are you currently working on?

Later this year I have a solo show at The Pit in Los Angeles, California. I am currently making work for that show. I just finished an iridescent and pastel ‘albino’ cobra sculpture. And I just started a new piece inspired by a Dalmatian Pelican — a species who are critically endangered. This multi-part piece will show a disemboweled pelican and the ‘food’ content in its (three) stomachs which will include fish, oysters, bones and a plethora of plastic debris including water bottles, used condoms and tampon applicators (all in glazed ceramic, of course).

What inspired you to get started on this body of work?

I’m really into reptiles–I think they are incredible looking creatures and I find it fascinating how they have inspired so many myths and creation stories — usually depicted as the monster or the villain. Like the ‘evil’ snake in the Christian creation myth who is directly linked to a woman — a woman who also represents evil in the shape of a wicked temptress. Even the innocuous apple, yielding knowledge, was ungodly. I am also sculpting apple cores for this show and many of the creatures are of the feminine.

Do you work on distinct projects or do you take a broader approach to your practice?

I do both. I build distinct projects but one pieces inspires the next so the overall result links them into a body of work, or at least into characters that seems to be interacting. I let the process direct the flow of the work.

What’s a typical day like in your studio?

A typical (and ideal) studio day starts early with coffee, followed by yoga and the rest of the day is spent working on a sculpture — usually just one sculpture at a time. I’m either sculpting with clay or glazing an object — these tasks are and feel very different from each other. While working, I listen to podcasts over music as I find the latter to be too distracting in the studio. I select podcasts about lore, mythology, cryptids and other stories that may inspire the work. And, my phone is on silent.

Who are your favorite artists?

I have too many favorite contemporary visual artists to mention…In terms of historical work, I look at a lot of ancient ceramics — like Meissen porcelain, Greek pots like amphoras, the work of Bernard Palissy, English and Dutch Delftware, Turkish Iznik ceramics, Mexican ceramics, especially from Oaxaca and more. Other influences are still life paintings from Northern Europe, Memento mori and classic sculptures — like the 16th century “Sacred Grove” (Sacro Bosco) or Park of Monsters located in northern Italy. I’m also inspired by film genres — mostly sci-fi horror. And so much more!!!!!

Where do you go to discover new artists?

I see shows in galleries, museums and even art fairs as much as possible.