Catherine Jacobi¹s work emerges from among the most common references of nature and anatomy. Form for Jacobi is the accumulation of time and material. The material itself is a platform from which she starts a piece considering a narrative that has already existed and one that it is transformed into. Emotional connections are made from what is already known.
Layered quantities of exhausted bicycle inner tubes are transformed into a dead baby elephant; the New York Times grows into a tree stump and empty egg cartons birth dozens of women¹s pelvises. Her work points to a common commentary that the novelty of form, which leads you to believe that it will endure, only changes.