Jess Pickering
(She/Her)
My practice is inspired by the intersections between feminism, archives, and semiotics, which I translate into visual art through auto-destructive installations and printmaking techniques. Works are often contextualised against archives, oral histories, and the works materials. The intention being, to tackle the constant question of how to work with and against existing systems that determine our portrayal and perception without reinforcing the patriarchy.
‘unmaking’ of the ‘Making’ installation
Copper sulphate solution and aluminium
Performed from the 26th May-7th June. The archive documents are dissolved throughout degree show and renamed ‘unmade 2026 #1,2,3… whilst the floor installation embosses when it’s walked upon to reveal the erased versions of the archive documents.
How to work with and against existing systems without reinforcing the patriarchy ?
Archive documents courtesy of the California Institute of the Arts library and special collections
Kitchen at Mariposa (page 5,6,7/8), Vicky Hodgetts. January 20th, 1970 ‘Unmade’ 2026 #1
Reprinted notes from second year: Women’s Liberation class, Jen Vikings, 1970
Everywoman magazine, volume two, number seven, Womanhouse issue front cover (Miss Chicago and the California girls). May 7th, 1971
‘Unmade’ 2026 #2
Everywoman magazine, volume two, number seven, after consciousness raising, what ?, 1971
Everywoman magazine, volume two, number seven, the reading group, 1971 ‘Unmade’ 2026 #3
Everywoman magazine, volume two, number seven, feminist artists and female imagery, 1971
Everywoman magazine, volume two, number seven, interview with Judy Chicago, 1971
Anonymous was a Woman, Letters to a young female artist, Deena Metzger, 1974
West East Coast Tag (W.E.B), an international liaison network of woman artist, June 1974
The F-word poster, the Feminist Art workshop at CAL ARTS, 1975
‘unmaking’ of the ‘Making’ etching tests
1/1
Steel
White Vinegar
Hydrogen peroxide, salt, white vinegar
Copper sulphate solution
Aluminium
