Jacqueline Surdell b. 1993

Photograph by Dayson Roa

On large-scale looms, Jacqueline Surdell employs the full force of her body, weaving sculptural topographies that physically and metaphorically investigate material, space, and time. Her woven reliefs—composed of twisted, bound, and tightly or loosely wefted ropes—pay homage to painterly traditions of depth and perspective while simultaneously exposing the illusionistic nature of the picture plane. Moving fluidly between these disciplines, she establishes her practice as one of transformation. Her exploration of landscape—particularly the interaction between the built and natural worlds—draws on familial Dutch and Midwestern narratives as it does Catholic creations of space, both physical, spiritual, and through painting. Through this lens, she considers the ontological nature of ritual, myth, the sacred, the monumental, and the sublime, questioning where she, and by extension, the body, are situated within these structures.

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Jacqueline Surdell b. 1993

Suddenly, she was hell-bent and ravenous (after Giotto), 2024

Nylon cord, steel, polyester fabric, steel spool top, steel chain and meat hooks
165 (body) x 252 (pole to pole) x 7 inches

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'Suddenly, she was hell-bent and ravenous (after Giotto)' draws on Giotto’s 14th century fresco of The Last Judgement in the Scrovegni Chapel in Padua, Italy. Here, Surdell probes the question...

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"Suddenly, she was hell-bent and ravenous (after Giotto)" draws on Giotto’s 14th century fresco of The Last Judgement in the Scrovegni Chapel in Padua, Italy. Here, Surdell probes the question of who has authority and power in art historical discourse to mark the beginning of an artistic movement. The title, pulling from the creation story, offers the artist herself—or, more generally the self—as a new protagonist of transformative narratives.

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