Next Crawl Exhibition
Opening Night Thursday, Nov 10th, 6pm
Im honored that two of my pieces are selected for the NEXT exhibition, one will be featured at Cultch & another at Alternative Creations Gallery
Nov 1st to Nov 27th, 2022
1895 Venables, Va
Mon - Sat, 12-4pm
Alternative Creations Gallery
Oct 31st to Nov 20th, 2022
1659 Venables, Va
Mon-Fri, 10am -2pm
Take your time finding the perfect art piece before the Crawl Crowds. At Eastside Atelier, we are hosting sneak peek preview for those curious art lover.
Nov 11th & 12Th
1310 William St
Eastside Culture Crawl Vancouver
Join thousands of Vancouverites while they visit artists, like myself, in their studio.
Nov 17th -20th
Start your tour at Eastside Atelier
1310 William St, Vancouver
First Saturdays Member
Come say hi on the First Saturday of every month
Just email me before to confirm attendance
Media and Reviews
The Georgia Straight: Volume 54, #2754, Nov 5th-12th 2020
It was such an honor to see my art piece "Our Backyard" grace the cover of Georgia Straight. This was always a dream of mine, and I was floored to discover it early Thursday morning on November 5th 2020.
"Our Backyard: The Pacific Garbage Patch," references to our society's insatiable appetite to consume goods and waste, which plagues our oceans, our backyard. A child Plays with her balloon, imagining a Humpback Whale floating above her. The Humpback Whale is as real to her as the garbage that resides in our Pacific Backyard. Change starts with us on our everyday consumer patterns. Make small adjustments to how you produce waster, and perhaps, Whale won't be something to image, but still co-exist with. -Jessica Craig
Dogged Determination Article:
My balloon Daschund made its debu!! "Strutting" is making friends with another adorable dog on the cover of Globe and Mail: Arts & Pursuits during the Eastside Cultural Crawl, November 14th 2020.
Written by Birute Macijauskas, July 2020
Photographer, Painter, and Art Educator
Jessica Craig is a figurative artist who explores the depths of people’s psychic underpinnings, and the psychological intricacies of relationship. The human figure is often used as a symbol, along with other objects to tell a story. The figures are often androgenous, so the story told increases in subtlety and complexity. Besides the symbolic references, the composition elaborates on the unfolding drama.
In “Exhale, Inspire," two androgenous figures are on opposite sides of the canvas with an inflated balloon between them. Both figures look out directly at the viewer. The figure on the right already has a deflated balloon, and is poised to pop the balloon of the other figure. The balloon seems to be used as a metric that measures the vicissitudes, turbulence, acceptance, and rejection inherent in the relationship. The balloon might also allude to the projections and illusions we often have in relationships that distort a more balanced reality. I like the title “Exhale, Inhale” because it directs us to yet other interpretations. It could mean taking that deep breath to come into full capacity of “self”, allowing one to create other “connections” to other realities. This seems to fit with Craig’s approach of repurposing and reinvention, not only of things but “self. Of course interpretation is personal, but there's enough symbolic markers here to come to some general consensus.
“Deflated Devotion” seems to be a scenario of “truth telling”. The genders are explicitly defined here. Both figures from the shoulders up fill the whole canvas. The woman standing behind the man looking directly at the viewer is holding a deflated balloon. The man, whose gaze is turned aside, away from the viewer, has not only been handed a deflated balloon, but he is composed of deflated balloons. Craig often works with mixed media, and in this case, real balloons. The deflated balloons seem to point to an incontrovertible “truth”, It is over. Whether he is the symbol and repository of all other rejected suitors, or the deflated balloons are remnants of his shortcomings, which has ultimately led to his rejection. Being able to play with different interpretations not only adds powerful subtlety to Craig’s work, but also a valued accessibility.
Another dramatic painting is called “Exhausto." It is a dark realistic rendering of a white collar worker, slumped over in his office chair. There is a prominent drip of paint, running from the chair to the bottom of the painting. The office worker, a man, is centered, and painted with little detail, a monolithic mass surrounded by the white of the canvas. There is nothing personal in the portrayal. It is difficult not to see this as referencing something iconic, something flayed and sacrificial, in the tradition of religious painting. I can even see this as a commentary, or a condemnation that is endemic to corporate life. The painting is powerful in its simplicity.
What I find refreshing about Jessica Craig’s work, is that one can interpret her work visually. Her symbols and compositions are not so overly conceptualized or esoteric, that one cannot interpret them. What she also doesn't do is over politicize her work, and give it grandiose generalities. I find that refreshing and honest.