Four Seasons Magazine Issue 1, 2016
Reconfigured - Group Show at Margaret Thatcher Projects
Jaq Belcher starts with just a simple sheet of white paper and from the medium of the paper itself thinks of the possibilities of conveying something meaningful. Instead of adding to the paper, she finds ways to take something from the paper to express various concepts or evoke a certain awareness or sense of something normally ineffable. If I am not wrong, she seems to often slice out what is called the vesica piscis (also mentioned above). You get this shape from two circles with the same radius intersecting so that the center of each circle touches the perimeter of each circle.
Heather Gaudio Fine Art announces it has moved to a new location
For its inaugural exhibition, “New Arrangements: Contemporary Reimagined,” the gallery will feature the work of five women artists: Jaq Belcher, Cassandria Blackmore, Ann Gardner, Madeleine Keesing and Jae Ko. The show illustrates intriguing relationships between form and materiality as they come together in reimagined processes. The exhibition opens on October 3rd and will run through December 30th.
Deck the Walls by StylebluePrint
Tinney Contemporary never ceases to amaze us with the talented artists they represent, and Jaq Belcher is no exception. This piece, crafted using 4,142 cuts of paper, is complex and thought-provoking. Belcher’s work explores alternative states of consciousness, and the visual outcome evokes focus and an understanding of the artist’s process of reduction and repetition. Adorn your walls with this 42-inch by 42-inch piece that sits in a seamless, white, shadowbox frame, and allow it to become a talking point for years to come. $15,000 at Tinney Contemporary
Persistence of Paper | ArtsEditor
Among the most delicate artworks to be found were two hand-cut sheets of white paper by Jaq Belcher at JHB Gallery’s booth. Mounted within their own white-framed shadow boxes, the works were created in 2015, making them also among the most contemporary of the contemporary works on display. Each sheet had been carefully traced in faint graphite pencil with organic, petal-like forms that the artist had then gone back over with a blade, cutting them on three sides and slightly bending each one to create a raised pattern over the surface of the sheet.
