source: jackhanley
Elizabeth Jaeger (b. 1988 lives and works in Brooklyn, NY) has a continued interest in themes surrounding the domestic sphere and alluding to human presence. While erotically charged, Jaeger’s sculptures also tend to function as memento mori. Jaeger’s work focuses on figural representations and their complex relationships, ranging from sculptures based on the artist’s own body and personal experiences to a series of alert greyhounds. The artist aims to create spaces that exude a sense of unease, where something unidentifiable has gone wrong and an unspecified narrative remains elusive. In Jaeger’s newest series of anamorphic vases and welded steel, the artist embraces a new sculptural process that omits explicit figurative elements but works phenomenologically to engage the viewer’s awareness of the physicality of their own body.

Recent solo and two-person exhibitions include Elizabeth Jaeger at And Now, Dallas, Six-Thirty at Jack Hanley Gallery and Music Stand at Elil Ping, New York. Most recently, the artist participated in Fear of a Blank Pancake at White Flag Projects, St Louis, Weird Science curated by Aniko Berman at Marianne Boesky Gallery, New York, Le Musée Imaginaire at Galerie Lefevbre & Fils, Paris, Close to the Skin curated by Lumi Tan at Company, New York and Dirty Linen at the DESTE Foundation in Athens. The artist has also participated in Elizabeth Jaeger at KINMAN, London, Got Tortilla with Butter on Phone. Think it’s the End? curated by Mikkel Carl at Rod Barton, London and Border Patrol curated by Jesse Greenberg at Loyal in Malmo, Sweden. The artist will participate in the upcoming exhibition Mirror Cells at the Whitney Museum of American Art, New York.

Jaeger has exhibited across America and internationally, and published works include Eros C’Est La Vie (Totem, 2013) and How Other People See Me (Publication Studio, 2011). Additionally, Jaeger co-founded and operates Peradam with Sam Cate-Gumpert, a publishing house specializing in artists’ books.
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source: jackhanley
Elizabeth Jaeger’s sculptures bend toward a surreal space that stops short of disillusionment. The positioning of the vases within their stands indicate a literal slipping through of their own reality or stability. As a stand in for the body, the phenomenology of Jaegers’ pieces ask the viewer to be immediately aware of one’s physical self. Both intense and banal, these anthropomorphic features, at the same time reference cherished relics from times past, suggesting a narrative that isn’t really there. These works are reminiscent of the fictive nature of art and, in tandem, the taboo nature of experiencing genuine emotion in today’s culture. Intelligence is ubiquitously aligned with snark, sarcasm or irony rather than real feelings and Jaeger presents a loathing in each, Untitled sculpture’s simultaneous potential and lack of.