Resume

Jacob Sandstrom

sandstromja@my.uwstout.edu

(847) 254-0821

Campus Address: Permanent Address:

1715 2^nd St. E. 1058 Dove Way

Menomonie, WI 54751 Cary, IL 60013

EDUCATION

UW Stout, Menomonie, WI

Bachelor of fine Arts, with studio emphasis in Ceramics, Anticipated Spring 2012

Cumulative GPA: 3.3 in studio courses

HONORS/AWARDS

2005 Honorable Mention, McHenry County College Student Show

2006 Honorable Mention, Harper College Student Art Show

2007 Finalist, Fine Art Finals Scholarship Competitions

GROUP EXHIBITIONS

2005 McHenry County College Student Show, Crystal Lake, IL

2006 McHenry County College Student Show, Crystal Lake, IL

2006 Harper College Student Art Show, Palatine, IL

2008 UW Stout Student Art Show, Furlong Gallery, Menomonie, WI

2009 Bayfield Festival of the Arts, Bayfield, WI

2009 Volo Village Craft Fair, Village of Volo, IL

2011 Cubed, UW Stout Student Gallery, Menomonie, WI

COMMISIONS

2009 Ambient Vision Inks, Design Work, Aaron Brice

WORK EXPERIENCE

Lab Assistant, University of Wisconsin-Stout, Ceramics Department, 2009-Present

Volunteer, Ryan Long Foundation, McHenry County College, 2010

Artist Statement

Jacob Sandstrom

­

Artist Statement

I see my work as an opportunity to initiate conversation. By choosing to place images on vessels, I create a dialogue of material and process that parallels the discussions I hope to find with my audience. As a drawer, I am confident in my technical ability to render a beautiful image. As a potter I find joy and excitement in the craft and construction of an interactive object. By gathering the information ingrained in each craft, each part of my process informs the next.

My vessels are constructed using thick heavy coils of course red terra cotta. The use of heavy coils allows me to be physically involved in the manifestation of the object. The physical characteristics of and working constraints of the clay bring an inherent process rich with tradition and familiarity. By being aware of those characteristics, but subject to their constraints, I anticipate the forms with a reserved control. The weight of my clay coils allows for the vessel to take its form intuitively. It’s a liberating experience that is an ironic backdrop to the controlled drawings. As drawings, my surface decoration bring the implications of meticulousness, detail, and control of process. With deliberate contrast, those traits become especially evident as they are physically integrated with the earthy surface of the clay. Through a developed color palette and material process, I work the surface using detailed technical process while revealing the areas of clay and the vessels intuition.

The effort of shifting back and forth between the two contradicting processes mirrors the struggle of a person finding his or her purpose and identity through conversation in a culture that operates at an accelerated pace. As a practicing and believing conversationalist, I find that quality of experience ought to be appreciated and shared. By working with and on functional forms, my art extends into the environment and context surrounding it. In that way it is less instructional and better suited to the duality necessary for true conversation. The permanence of clay complements the evolving methods of communication. The material and age-old process of drawing on clay questions the broad and general subjects in conversation and the development of those thoughts in correlation with the changing technology that has become so integrated in our communication.

The images themselves reflect the culture and the shifts that occur in it. The contextualization of the animals and people I draw the images from brings yet another parallel to the changing communicative processes. By looking at timeless subjects in new or developing relationships to culture, I further the integration of those thoughts into the crafts of clay and drawing.

My work is a construction of conversation through multiple processes. By achieving a craft-based conversation in each piece that I make, I hope to integrate that dialogue into my audience and the changing lives that surround and inform my work.

Self Portriat in Charcoal using Mirror

Final Reflection

I very Much Enjoyed Life Drawing I, I feel that I accomplished all the course objectives and I am happy with the work I produced. I was most successful with longer poses and the Ink wash shell drawings; The area that I need most improvement is gesture drawings and though I have improved my cross contour skills I would like to continue to improve, its nice to have a new challenge. Life drawing is very relevant to my major (studio art) and to be drawing on the regular is very important for any visual artist. The link to my final portfolio is posted on the bottom of this blog.

http://s933.photobucket.com/home/sandstromja/allalbums

Cross Contour Skull Drawings

The Skull is a very challenging and complex object to draw. I try to have patience when performing any cross contour drawing let alone drawing a skull. Posted is my first of three skull drawings. I am looking forward to the self portrait we have to do for our final, I really want to nail this last project, so I will defiantly be putting in the hours.

Last Manikin Muscle Set

It feels good to finish the manikin, overall I enjoyed building up the different muscle structures to gain a better understanding of the form of the body. It was nice to work not only in the 2d but in 3d as well. It helps with the cross contour drawings when drawing from the models.

Ink Wash Shell Drawing II

The Second Shell drawing I very much enjoyed doing, It turned out much better than the first ink wash drawing of the shell mainly because of the different view, I was able to get more information and depth with the new arrangement. I also experimented with different colored inks and was more aggressive with the ink using more layers than the first ink wash drawing. Cross Contour Drawing is very challenging for me and I felt that I was successful in this last shell drawing.