|10/12/10 - 09/07/11||
Power of Powers
St. Cecilia's Convent
Symbol of Symbols is a performative piece conceptualized by Jasmine Pasquill for the show Lost Symbols at the Convent of St. Cecilia.
A 20 minute performance piece set inside of a chapel within a convent; the piece consists of actions within actions, done in three's with a 15 minute drone piece, an opening + closing sermon and an accompanying triad of live-painting dancers. The tri-tone musical interval will be the cradle for the piece, this interval came to be heard in Western cultural convention as suggesting an "evil" connotative meaningin music and was chosen for the Lost Symbols show because of it's original symbolic association with the devil and its avoidance in medieval ecclesiastical singing because of its dissonant quality. The name diabolus in musica ("the Devil in music") has been applied to the interval from at least the early 18th century. Although this layer of the ominous sounding tri-tone scale will be omni-present, the musical system used will take the listener through various other journeys. This system, coined "Gestural Improvisation," by the composer/musician David First is defined as a set of procedures that isolates those musical elements traditionally considered ornamentation or aspects of expression and elevates them to the level of most signiﬁcant extrapolative detail. Examples of fundamental gestural improvisation techniques would be the implementation of glissando/pitchbend/vibrato in the area of frequency, active ﬁltering/overtone isolation inthe area of timbre, and tempo modulation/syncopation/rubato in the area of rhythm. This detail, however, is only one set of co-ordinates in a ﬁeld of continuous energy.
Lost Symbols brings together the work of contemporary artists who investigate, dissect, appropriate, and translate mystic occult ritual, alchemy, mythology, and symbolism. The artists represented have each uniquely contributed their own individual interpretations of the theme through a diversity of mediums and artistic methodologies including, but not limited to: film, painting, sculpture, drawing, printmaking, performance, and sound-in site-specific installations. Programs include screenings and live performances involving ontology, fantasma, and phatasmagoria. Sound programs reference ritual, phenomenology, and transcendence.
|19/07/10 - 07/09/10||
Heather's Project Space, NY, NY
In Mysterious Schooling, Jasmine Pasquill plays an armchair archaeologist revealing
her findings of ancient Egypt in a series of installations, sculptural collages, and digital
imagery. Using mirrors, taxidermy, and domestic objects like plants and figurines
depicting Egyptian deities which stand as the guardians and the keepers of the art
itself, Pasquill takes the viewer on a tour through a symbolic tapestry of the region, and
her interpretations of its mysteries and enchantments, while inserting delicate humor
The show’s title refers to the contrast of the artist’s own DIY education versus the ancient
mystery schools of Egypt- highlighting the enormity of the difference of information
available between then and now. In ancient Egypt education was deeply secretive and
accessible only to the ordained few, namely, rich men, whereas now information is within
reach en mass in dizzying proportions. Throughout the exhibition, Pasquill explores how
our physiology is changing due to this shift of information access, and looks at how our
mind now functions with so much scrollability, tab-hopping, copy and pasting, available
at our fingertips.
In "Now Eye Can See", a 6 x 6 foot digital print of the Sahara desert, hyper-saturated
oranges and blues reverberate as the exhibition's backdrop.
Pasquill employs her skills as a digital photo retoucher to create these exaggerated landscapes
and images, which are culled from her internet "digs". 72 dpi images are up-res'd and
given a step-by-step high end treatment of color manipulation, grain enhancement
with the final output being fine art prints. Digital collages reveal a multitude of posing
Cleopatras ranging from Claudette Colbert to the most famous depiction of the powerful
female Pharoah: Liz Taylor. These digital prints are hung from the chain of a necklace in
pyramidal shapes, a subtle reference to the gaudy jewelry the Cleo's have piled on over
the years as her image has become more estranged and sexualized.
Pasquill has never been to Egypt - her exploration of the country is done from the
confines of her Brooklyn apartment. In this way Pasquill shows the humor in her process
- squandering hours on the internet trying to self educate, feet up on her desk and staring
into the pixel-pyramids of Giza. She makes fun of herself and others who pose as the
keepers of knowledge via surfing the web, as if these sessions on the computer would
begin to scratch the surface of understanding a region so rich in history.
Jasmine Pasquill received her BFA from University of California, Santa Barbara. Her
work has been exhibited at Igloo Gallery, Portland, OR; Show Pony, Los Angeles, CA;
31 Grand, New York, NY and Kantor/Feuer Gallery, Los Angeles. Born in San Diego,
CA, she currently lives and works in Brooklyn, NY.
|09/07/07 - 10/07/07||
White Elephant Gallery, Portland, OR
This show will happen in Fall 07