Now Featuring Jesse Moretti
Artist Jesse Moretti first appears to be a painter, but a closer look finds her pieces subtly making inroads into sculptural space. This morph from image to object and back again mirrors Jesse’s own working process of sketching, rendering, printing and painting, as the forms in her work jump through multiple translations to land in their final state.
MH: Can you talk about color in your work? Many of your compositions are bright and bold, and some are more subtle but there is a play of complimentary colors that seems to be running throughout.
JM: The colors I use are constantly changing, depending on where I spend most of my time, but there is always an undeniable reference to the colors-scape of Miami Beach, where I grew up. I tend towards this continuous pastel spectrum, and filter it through the bright and bold digital RGB palette at some point within designing the work. So there is always a play between organic and digital colors.
MH: What is your studio process like? It looks like collage is an element in your work and I am curious what parts are digital, what parts are painted, how it all comes together.
JM: I like to think of my studio process more concerned with ideas of feedback, looping and translation, than of collage. Usually my process begins with sketching, which leads to vector based drawings. I’ll usually print these out and manipulate them in some way, sometimes, playing with the layout, etc. Then I’ll make paintings based of of these diagrams. I use a lot of frisket and airbrushing.
Sometimes it’s more based in photography, and I’ll photograph paper I’ve been working on, resulting in large scale digital prints of impossible spaces. Usually these relate to my paintings, both occupying an extreme flatness. I’ll have images traversing into and out of the computer at several points with my work, creating a process loop from physical to pure image and back again.
MH: You use a lot of framing devices in some of your recent projects, I’m thinking especially of your work for La Chose Encadrée, that muddy where the work begins and ends, and whether it’s an image or a sculpture or both. How did you come to start using the device of the frame in this way?
JM: The framed pieces are really sculptural objects. They are so physical to me. The image can’t exist without the frame and vice versa. The frame is the lens through which you view, defining the beginning and end of the work, but it is also part of the image, allowing the image to extend outwards into a low-relief space.
MH: Is see you recently had a residency at Kala in the East Bay… how did you like the Bay Area? Do you have any other residencies or shows coming up?
JM: I did, but it feels like a long time ago already! The Bay Area was wonderful, such a pristine environment. I’m currently in residence at ESKFF in Mana Contemporary, and will be following this up with a residency at Pioneer Works in Brooklyn this summer.