Dot Jackson (née Vile, b. 1990) is a multidisciplinary artist from Philadelphia, PA.
She has exhibited nationally and internationally in New York, Chicago, England and South Korea. Most recently, her work was shown in the Lausanne to Beijing Fiber Art Bienniale Exhibition, Daesan Museum of Art, Hangaram Art Museum, Hongik Musueum of Art and GoggleWorks Center for the Arts. Her work has been featured in Surface Design Journal, Broadly by VICE and The Art Blog.
This past Spring, Dot earned her MFA in Fiber at Cranbrook Academy of Art. She is currently based in Detroit, MI.
She has exhibited nationally and internationally in New York, Chicago, England and South Korea. Most recently, her work was shown in the Lausanne to Beijing Fiber Art Bienniale Exhibition, Daesan Museum of Art, Hangaram Art Museum, Hongik Musueum of Art and GoggleWorks Center for the Arts. Her work has been featured in Surface Design Journal, Broadly by VICE and The Art Blog.
This past Spring, Dot earned her MFA in Fiber at Cranbrook Academy of Art. She is currently based in Detroit, MI.
Artist Statement
If my studio practice was distilled to one word, it would be dreamhouse.
I construct installations and sculptures that create psychological sites about the home. My body is the space from which I gauge these sites. As I work, I tap into my own capacities, strengths and weaknesses. My process is both contemplative and improvisational. I sit with material before acting upon it.
I create work in space using traditions such as sewing, bricklaying, and bookbinding. I combine the rough and delicate, like concrete and silk, which probes at physical and poetic tension. Domestic material like bedding, interior paint, and cinder blocks become transcendent symbols loaded with meaning.
Bodies and houses serve as sites of shelter and protection, fraught with vulnerability. When I work, I meditate upon spiritual questions so that the act of making becomes a prayerlike release.
What images nudge through in dreams, memory, longing, and heartache? How does a relationship become an environment? When does the body become a place? I am interested in specific and universal responses to these questions.
Like bone to skin, I seek out a way to join inside and outside, providing a space to examine our human existence.
While I process the ineffable, I dwell on what I know by heart.
I construct installations and sculptures that create psychological sites about the home. My body is the space from which I gauge these sites. As I work, I tap into my own capacities, strengths and weaknesses. My process is both contemplative and improvisational. I sit with material before acting upon it.
I create work in space using traditions such as sewing, bricklaying, and bookbinding. I combine the rough and delicate, like concrete and silk, which probes at physical and poetic tension. Domestic material like bedding, interior paint, and cinder blocks become transcendent symbols loaded with meaning.
Bodies and houses serve as sites of shelter and protection, fraught with vulnerability. When I work, I meditate upon spiritual questions so that the act of making becomes a prayerlike release.
What images nudge through in dreams, memory, longing, and heartache? How does a relationship become an environment? When does the body become a place? I am interested in specific and universal responses to these questions.
Like bone to skin, I seek out a way to join inside and outside, providing a space to examine our human existence.
While I process the ineffable, I dwell on what I know by heart.