I sought to address the issue of the identifiable face of Christ that has somehow passed through ages in art by hands of those who had never seen the man. Therefore, this stretching shadow has a seemingly specific profile which can be made out in the face, but is otherwise just the product or expression of a presence. The feeling of time is given by its endless stretching into a point at the opposite side of the room. But in the present (where the viewer stands), the head sweeps across them in macro view. At the same time, charcoal shading on a strip of acetate has been laid down in a shrinking line on the floor under the fabric, starting from the viewer’s feet and ending at the shadow’s vanishing point. This extension of the shadow toward the viewer implies their partaking, or creation, of the shadow which somehow has a face that is not their own. The specific blue used in the shadow served to identify the leitmotif in the other pieces in its show, so that the common presence (and portrait) is ultimately felt but is the only one that cannot be pinned down to a specific face.
How does an artist depict someone familiar, or a stranger, or someone who is no longer alive, or someone who they've never seen—as in the numberless portraits of Christ, for example? These scenarios continue to draw Jenn Cacciola to a variety of... » read more