Jacob Stanley is a sculptor who focuses on temporary site-responsive installations and loves to wear scarves and vests. His work is generated from informed intuition, design thinking and installed in improbable urban locations. His work exists in a state of dynamic stasis, which entreats viewers to question: is the work finished, has it just begun or is it a prank? These projects often subvert the original purpose of an industrial material to foster a dialogue that focuses on engaging a non-artaudience.
I view the original purpose of any material or location as a starting point for an exploration into its culturally assigned value. Utilizing additive and reductive processes, I deconstruct and recontextualize materials—while never overlooking their societal or historical significance.
The work originates from informed intuition that relies on systems thinking to process information. When approaching a new project, I primarily draw on three running lists: available materials, sites of interest and a framework that links them together. After conducting both formal and informal research, I take this information and start assembling—often out of banal and repurposed consumer objects. These site-responsive installations, frequently occupy the liminal space between blue-collar labor and intellectual labor. The installations are often created and displayed simultaneously, intended as ephemeral pieces from their conception.
I strive to engage the casual observer while simultaneously layering enough complexity for the art cognoscenti. This challenge manifests itself in keeping the work accessible without making it didactic. These projects are often displayed in ’public’ space, prompting me to employ gestalt, use spectacle, and interact with architecture. Even on this monumental scale, it is the fine details—both in craftsmanship and concept—that keeps viewers questioning. This state of ambiguity entreats viewers to scrutinize the work and analyze their world.
It is my aim to create artwork that stays in dynamic stasis—between collapse and construction, tension and balance, refinement and rawness. The installations are often delicate, but not precious, using discarded materials allow me the freedom to take greater risks. These risks engage the public on a gut level by asking viewers to interact with the piece physically it acts as a bridge to theoretical understanding.