United States of America
Through process, material, and mark making, my works on paper contemplate physical traces of presence and absence. I’m interested in how the accumulation and compilation of marks can function as forensic indexes to the physical history of their own making. Combining methods of drawing, photography, and printmaking, I use the accumulated marks, lines, scratches, scars, and stains from my surrounding physical environment as material for my own investigations into mark-making.
As all of my work necessarily involves a process of translation, I’m interested in producing a project that engages in a translative process with the urban environment of Buenos Aires itself. I will use evidence of my own physical interactions with the city – as well as my exploration of the found marks, traces, fragments, and urban scars that speak to the city’s own phenomenological history – as templates for a series of abstract drawings and experimental prints.
1985 | Providence, Rhode Island, USA
She lives in Los Angeles USA.
2015 | Master of Visual Arts, The School of the Art Institute of Chicago, Chicago, Illinois, USA.
2007 | Bachelor of Arts, Brown University, Providence, Rhode Island, USA.
2005 | Pont Aven School of Contemporary Art, Pont Aven, France.
2011 | Jessica Simmons: Works on Paper, UHLA at Urban Hardwoods, Los Angeles, California, USA
2009 | Positives and Negatives, A Pop Up Night Exhibition, 137 Sycamore Ave, Los Angeles, California, USA
2007 | Recent Work – Senior Thesis Exhibit, List of Art Centers, Brown University, Providence, Rhode Island, USA
2006 | Drawings, Prints and Paintings, List of Art Centers, Brown University, Providence, Rhode Island, USA.
Artists in Dialog
On Wednesday July 30th the Fundación ‘ace para el Arte Contemporáneo hosted the ‘aceNITE. Under the name Traces the work produced by the July artists-in-residence and a Argentinian artist invited to the SUB30 Program were presented.
Mimesis from Julie Krone (Australia) and Vestiges from Jessica Simmons (Chicago, USA) was exhibited in the Poliglota Room. In the Dialogue Space, Shed, an installation by Jill Fitterer (Idaho, USA) was exhibited, the artist also presented Hairstory-Herstory a community based project that started in Boise, Idaho and continued in the Centre Arminda Aberastury in Buenos Aires.
In the Transverse Space David López Mastrángelo (Argentina) presented an installation.
Is an event that occurs periodically, on Wednesdays from 7pm to 10pm. During this time ´ace opens its doors and exhibition spaces to the community to show projects made by the artists in residence as exhibitions, installations and audiovisual presentations, art works of Argentine and Latin American artists selected in a free way through Fusionarte Contemporaneo, present books, art critics, hold performances or to do everything together!
The works produced by Jessica Simmons during her ‘acePIRAR residency were exhibited in the ‘aceNITE Traces that took place in the Fundación ‘ace. By making use of different materials found in the the city and techniques developed inside the workshop, the artist put together a series of pieces that explore with hazard/chance, traces and the translation processes that take place when one interacts with new surroundings.
The body of work I have produced at ‘ace stems from my interest in both the formal and indexical qualities of a “found” mark – from the indiscriminate scratches and scars found on exterior walls to the haphazard stains and scuffs on the floor. I’m interested in how the accumulation of these marks can function as forensic indices to the physical history of their own making.
Combining methods of drawing, photography, and printmaking, I have used the accumulated marks, fragments, traces, lines and urban scars from my surrounding physical environment – the city of Buenos Aires – as material for my own investigations into mark-making.
This series, entitled Vestiges, engages in a translative process with the city’s own material and phenomenological history. The word vestige bears a direct relation to the works’ material backbones. Defined as both a nearly-absent trace and a functionless bodily appendage, a vestige is dually connected with and disembodied from its original context. The prints’ and drawings’ originating marks are vestigial – both dislocated and dismembered, present and absent. Only vestiges remain.