In being a part of the Millennial Generation, and having the majority of my adult life lived during a recession, as well as conflict overseas, my creative drive has been centered around making sculptural work, which investigates issues that deal with the presence of society and it’s impact. Recently I’ve come to appreciate the theorists and philosophers of the 60’s and 70’s such as Guy Debord and Jean Baudrillard, and the artists that came out of that time in America’s crisis such as Martha Rosler. Their generation set the stage for an era of objection and explored why our flourishing culture has (and will continue to) recede into a disconnected society. Still lagging through a post-modern art era, I’ve noticed that the core of many of our first world issues haven’t progressed. With my new work I propose we visit these cultural and social problems. Our consistent need for progress, our constant and distracting draw to cultural spectacles, as well as our obsession with social and economic growth by any means necessary have stunted our society’s awareness of our impact and requires further personal investigation.
During my recent participation in a residency at North Lands Creative Glass in Northern Scotland, my attention was drawn to the human presence and its effect on the landscape, specifically the oilrigs and wind farms that profoundly marked the otherwise pristine area. Since then I’ve decided that my artistic objective is to critically examine current issues and expose the symbols of our societies interests; specifically ones that have a resonance with my locale. In recently receiving my BFA from Rochester Institute of Technology, I developed a body of worked that investigated the remnants of our countries industrial boom. The idea of placing our actions in an unbiased historical context is not only a problem worth my concern as an American, but withholds enough significance to pique my interest as an artist.
With hopes to provide an immersive experience that promotes personal reflection, I use large-scale installations that includes imagery, text, and sculptural items using glass and found objects as symbols that correlate our desires for an ever-growing way of life, with the irony and moral realizations that accompany our generations false expectations.
Jesse Nelson was raised North of Seattle, Washington where he acquired the majority of his training and techniques in blown glass. He’s worked and interned for some of the industries most celebrated artists such as Lino Tagliapietra, Preston Singletary, John Kiley, and Benjamin Moore inc. He since has attended California College of the Arts in Oakland, and finished his BFA at Rochester Institute of Technology in Western New York. After being invited to participate in an international student symposium by Northlands Creative Glass in Lybster, Scotland, Jesse diverged from his strenuous background in glass fabrication and has recently focused on producing conceptually based work.
By using two-dimensional imagery as well as three-dimensional objects made from glass and found objects, Jesse has combined his appreciation for well-crafted objects, and his interest in contemporary culture as a means to explore social issues. His work has been informed by his interest in theorists of the 1960’s and 70’s such as Guy Debord and Jean Baudrillard. Currently, topics included in his work examine our cultures obsession with social spectacles, our love and never ending desires for cultural progress, as well as the over all presence of humanity and its impacts.