Jacqueline "Jackie" Winsor is a Canadian-American sculptor. Her style, which developed in the early 1970s as a reaction to the work of minimal artists, has been characterized as post-minimal, anti-form, and process art.
Background
Jacqueline Winsor was born on October 20, 1941, in Saint John's, Newfoundland. She is the second of three daughters and the descendant of three hundred years of Canadian ships' captains and farmers. Winsor was brought up in an old-fashioned, Anglophilic manner. A large part of her adolescence was spent helping her father build houses. One of Winsor's jobs was to "straighten the old nails and then hammer them down", an action she would later introduce into her own work.
Winsor's family moved frequently during the 1940s due to her father's job between Newfoundland, Nova Scotia, and New Brunswick. In 1952, Winsor and her family immigrated to the United States and moved to Boston, Massachusetts. Boston's urbanity brought Windsor culture shock, so she would still return to Newfoundland during her summers.
Education
Winsor began her formal art studies in Massachusetts College of Art, where she focused on painting, and it was not until her time in graduate school at Rutgers University, which she attended from 1965–1967, that she began to experiment with sculpture. Winsor received a B.F.A. from Massachusetts College of art in 1965. Winsor received her M.F.A. from Rutgers University, where she met artists Keith Sonnier and Joan Snyder, in 1967. The three artists then moved to New York City after graduating.
During the late 1960s, Winsor and her contemporaries, which included artists such as Lynda Benglis, Eva Hesse, Barry Le Va, Bruce Nauman, Joel Shapiro, and Richard Tuttle, collectively pushed modern sculpture into a new "Postminimalist" direction Richard Marshall states that these artists "shared a willingness, even a need to reinvent form (often using novel and unexpected materials), to invest that form with meaning."
The first sculptures Winsor created in New York were made with materials which are now associated with "anti-formal" sculpture. These materials included rubber sheeting, tubes, cord, and even hair. Winsor also began experimenting with rope dipped in latex or polyester resin to create linear shapes.The first significant piece of her career was Rope Trick, a six foot tall length of rope in which she embedded with a metal rod to keep it standing upright. Although visually similar to the works of Minimalism, Winsor's sculptures did not aim to completely separate herself or her personal experience from the work she was creating. Winsor believed that an artist's work is a reflection of their inner selves and she demonstrated this in her rope pieces, as they relate back to her heritage of sea captains. Winsor even remarked that those kinds of ropes "might be used to tie an ocean liner to its dock".
An important influence for Winsor during this time was American dance, choreographer, and filmmaker Yvonne Rainer. Rainer's work was experimental and its intention was to put the body back into abstraction and use it along with motion to create shape. Her performances were often based on particular actions or tasks, which Winsor felt had a relationship to the ways in which she herself performed tasks in her own work.
Winsor uses very involved, hands-on processes to create her sculptures, including nailing, wrapping, joining, and measuring. Winsor's work-flow has been described as being slow and obsessive. On average. Winsor produces only three sculptures a year.
Her work not only examines form and material, but also process, space, surface, weight, and density. Winsor asserts her role as an object-maker by creating works with clear material integrity.
She is also best known for her thick rope pieces, usually 4-inch rope and combines that with natural wood. Jacqueline Winsor also keeps a sculpture in her studio that has more meaning to her than a random passerby. It is a plain sphere over a foot in diameter me of solid concrete. To her, it is a perfect symbol of density.
Jacqueline Winsor's work can be categorized as process art, "anti-form", and "eccentric abstraction". She is known for consistently using geometric forms like the cube and the sphere and she connected process with appearance.
Jacqueline believes that her pieces of art are connected to specific occurrences in her life, however not directly connected by any personal events that she went through.
Quotations:
"What interested me was that these abstractions had a physical presence because they were acted out with bodies the hands-off sensibility toward abstraction".
"Maintaining integrity toward the perfection you envisioned in the beginning is a constant concern. I spend an enormous amount of time just trying to imagine if an eighth of an inch at some point is going to make a major difference in the completed construction of the piece."
"When I think about things like feminism, it seems to me a political moment that supported the life I've had….I support it 100 percent although I have no real interest in it in my work".
Connections
Jacqueline married Keith Sonnier whom she had met in university.
