“Come to the edge.' 'We can't. We're afraid.' 'Come to the edge.' 'We can't. We will fall!' Come to the edge.' And they came. And he pushed them. And they flew." ― Guillaume Apollinaire
Jaqueline Cedar utilizes a fractured dimensionality in which bodies, light, and location intersect and coexist on parallel planes dictated not by a natural order but a dreamlike logic. Flesh, matter, and consciousness all fragment within her layered fields of disorienting space. Time, on the other hand is static, either nonexistent or in suspension, inducing an ambiguous sense of suspense or infinite irresolution.
Cedarʼs artistic genealogy is found in a heady concoction of early 20th century painting and faint hints of a west coast sensibility seeping in from her Southern Californian roots. Her most recent works cite Orphism as a key source, referring to the mystical content of painters rooted in cubism whose primary interest was the expression of sensation and infinite interrelated states of being. This reference poignantly surfaces in Cedarʼs enigmatic narratives of deep contemplative states and disjointed physical and psychological engagements; all charged with a permanent sense of foreboding - forever
preparing and waiting for events to come.
Jaqueline Cedar received a Master of Fine Arts from Columbia University, NY in 2009; and a Bachelor of Arts from the University of California, Los Angeles in 2007. She has shown at Fredricks & Freiser Gallery and The International Studio and Curatorial Program in New York. Her work has been featured in The Huffington Post, The Graphite Interdisciplinary Journal of the Arts, and New American Paintings. This will be her first exhibition with Wharton + Espinosa.