Jacci Den Hartog
Conversation In the Garden: A Chill To Repartee. 2013-14
Flashe on hydrocal, steel base
46 x 43 x 24”
(JDH15 1)
Recalled To Life. 2014
Flashe on steel reinforced hydrocal and aqua resin
76 x 21 x 14”
(JDH15 2)
Titanomachy. 2014
Flashe and acrylic on steel reinforced aqua resin
44 x 13 ½ x 11 ½”
(JDH15 3)
A View To the West. 2014
Flashe on steel reinforced hydrocal and aqua resin
54 ½ x 69 x 42”
(JDH15 4)
Thinking Like a Mountain. 2014
Flashe and acrylic on steel reinforced hydrocal and aqua resin
83 x 27 x 76”
(JDH15 5)
Every Morning a New Arrival. 2014
Flashe and acrylic on steel reinforced hydrocal and aqua resin
49 x 29 ½ x 23 ½”
(JDH15 6)
The Etiquette of Mountains. 2014
Acrylic on polyester resin, on wood base
60 x 146 x 155”
(JDH15 7)
Installation view. 2015
Rusticating 2. 2014
Flashe and acrylic on steel reinforced hydrocal and aqua resin, on wood stand
87 x 13 x 13”
(JDH15 8)
Rusticating 4. 2014
Flashe and acrylic on steel reinforced hydrocal and aqua resin, on wood stand
65 x 26 x 27”
(JDH15 9)
Rusticating 1. 2014
Flashe and acrylic on steel reinforced hydrocal and aqua resin, on wood stand
76 x 13 x 13”
(JDH15 10)
Rusticating 3. 2014
Flashe and acrylic on steel reinforced hydrocal and aqua resin, on wood stand
80 ¾ x 14 ¾ x 13”
(JDH15 11)
Rusticating 5. 2014
Flashe and acrylic on steel reinforced hydrocal land aqua resin, on wood stand
82 x 13 x 16”
(JDH15 12)
For her newest exhibition, The Etiquette of Mountains, Jacci Den Hartog presents work consisting of painted landscape sculptures at Rosamund Felsen Gallery. Inspired by Aldo Leopold’s A Sand County Almanac (1949) and his writings on ideas of land as community and the delicate equilibrium for which nature constantly aspires, Den Hartog constructs mountain and water forms that appear both tenuous and grounded simultaneously. Seeing mountains as fulcrums from which their environment pivots, a sculpture of icey-blue mountaintops supported by a wooden beam arrangement shares the title of the show. Drawn from the floor plan of a 4 tatami mat tea house, the beams have been pulled, stretched and stacked in such a way that the distribution of weight of the piece is contingent on the exact placement of the mountaintops.
In the second gallery, the sculptures – though often sourced and combined from actual sites and geological waterfalls - are abstractions of the flowing water forms as they drape or cascade down the mountainsides. In removing the mountain from which the waterfalls occur, these sculptures appear to be rising upward toward the sky. Further abstraction occurs when luminescent pinks, mauves, oranges, greens, ochres and blues are dripped, brushed and poured over these sculptures.
Blurring lines between abstraction and representation, Den Hartog’s sculptures capture time, defy gravity and meditate on the mannerisms of nature and our relationship to it.