Jenn Cacciola Studio

I build, draw, paint, sew, record, sculpt, glue, print, and most importantly, listen.

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The Morellian method of art authentication, devised by Giovanni Morelli in the nineteenth century, is based on the idea that elements such as hands and ears were commonly rendered as an afterthought by most artists in regard to technique, as opposed to having been drawn directly from observation of the sitter. In this way, these elements would serve to identify the true hand of the painter, even when the signature is forged. He went on to create catalogues of Botticelli and Bellini ears, etc.... When approaching the 4-panel painting series "Remember Me, When You Come into Your Kingdom," I wanted the ear to not be my imposition onto the sitter but instead to serve a primary role in identifying them.

Beach sketches from 2012.....hankering for July......

One of the 4 panel paintings from my thesis show "Leitmotif, Opus 21". The timely and patient process of “learning” a person/subject of a project is sometimes reflected for me in an indirect method of concealing the majority of usable visual information, and revealing only limited portions that are unfailingly recognizable. In this group of 4 paired paintings, the portraits were depicted from the back of the sitters’ heads, wondering about the sitter’s ability to recognize themselves from a view they're not accustomed to. This method of concealment has since had an important place in my work, which reveals some information of itself slowly and quietly, requiring time and work on the viewer’s part, but in the end never relinquishes all answers.

More hospital sketches of her.

One of the 4 panel paintings from my thesis show "Leitmotif, Opus 21". The timely and patient process of “learning” a person/subject of a project is sometimes reflected for me in an indirect method of concealing the majority of usable visual information, and revealing only limited portions that are unfailingly recognizable. In this group of 4 paired paintings, the portraits were depicted from the back of the sitters’ heads, wondering about the sitter’s ability to recognize themselves from a view they're not accustomed to. This method of concealment has since had an important place in my work, which reveals some information of itself slowly and quietly, requiring time and work on the viewer’s part, but in the end never relinquishes all answers.
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Pt 4 of the sketches I made some years ago in my grandmother's hospital room during the days and nights of waiting and wondering, sometimes in the company of good friends, sleeping in chairs.

"At Night" 2011, view from my favorite window.

Pt 3 of the sketches I made some years ago in my grandmother's hospital room during the days and nights of waiting and wondering, sometimes in the company of good friends, sleeping in chairs.

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