Eschewing flat, static canvases in favor of pottery— upon which time can roll— Rochlin memorializes and remembers her own life with pieces like Trans-Siberian Railway, Summer Snow, and Two Weeks in July. Her vessels glow with personalization, but equally dream and interact with viewers.
This glimmer is perhaps an inevitable quality of any sculpture— memories, musings, and nudity feel more sensual when tangible— but fewer three-dimensional pieces laugh with bite-marks from their maker’s friends. Abstractions, sport, family, music, animals, travel, and sex all dance around Chelsea, hyperaware of their realism and nostalgia.
Art & Object sat down with Jennifer Rochlin to discuss how her vessels became her most personal media for painting.