Grasping the Air of Not (yet) Knowing
RMAC - Roswell Museum And Art Center
New Mexico, USA

This solo exhibition evolved from a one-sided friendship with the spectacular Goddards and in particular with Esther.

Through research at the RMAC’s impressive Robert Hutchings Goddard collection and its atmospheric exhibit of his recreated rocket workshop, I have been looking out for my new friend Esther. Embodying Virginia Woolf’s looking-glass, she was there, succinctly lending her magic to reflect Robert at his most magnificent and creating his past well into the future. Just as the historian author Hillary Mantel insightfully proclaims in her 2017 Reich Lecture ‘we create the past, we don’t remember it’.

What I admire about the Goddards, was their ability to be for a sustained length of time – years and years – in a mental state of ‘not-knowing’; a place that most people avoid inhabiting. Throughout our education, there is a focus on consistency and knowing ‘the facts’. Socially not knowing is unquestionably seen as a negative, while the human default is swept under the carpet – hiding the fact that what humans do know is far outweighed by what we do not understand. The place where we are all encouraged to exercise our not-knowing muscle and perhaps advance to enjoy the complexity and possibilities of not (yet) knowing, is the arts.

All the artworks in the exhibition were made during my one-year RAiR Fellowship, and New Mexico is to me indeed a land of enchantment, just like it was to the Goddards. Here in Roswell, Robert’s ill health could benefit from the magnificent weather, and his rocket experiments could be executed without any objections. My friend Esther, she too enjoyed the people of Roswell, playing bridge and debating in the book-club. However, most significantly it was right here that Esther Kisk Goddard perfected her expertise as a stills and film photographer. It is her exquisite photographic images that create the past, documenting the scientific rocket research that Robert and his team were undertaking – indeed Esther’s lens and tenacity become stepping stones for better grasping the unknown.

 

ANDREA JESPERSEN
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Andrea Jespersen
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Handling Goddard #0-83
Archival pigment on fibre based paper
Edition of 5 (2 AP)
each H. 48 x W. 33 cm.
2017
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Andrea Jespersen
Andrea Jespersen
Andrea Jespersen
Andrea Jespersen

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Atmosphere Chart
Bisque ceramics, pigment ink, photographic print, pecan
2017

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Andrea Jespersen
Andrea Jespersen
Andrea Jespersen
Andrea Jespersen
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Possibility Device – Table Drawing #04 for Esther Kisk Goddard
Silk/wool/linen/cotton fabrics, vinyl, bisque ceramics, painted wood, 20th Century Typing Manual, glass frog, raku ceramics, photographic prints, wooden embroidery ring, American red oak, card, pigment ink,120 film roll’s paper lining, hair, playing cards, gourd, brass stand, framed pencil and ink drawing diptychs, ebony glove stretcher, teak valet, insect screen mesh, eucalyptus leaf, marble bookends, plastic light grid, plastic found object, charred cardboard, repurposed RMAC gallery benches
2017
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Dawn of Time (drawn & stoned) #3
Pencil, Indian Ink, fibre based paper.
Metal framed with museum glass
each H. 38 cm x L. 48 cm x W. 8 cm
2017


thrust chamber

Ceramics, painted steel
2017

Sampling Again (the position of a star)
Copper, painted steel, polyurethane foam, vinyl, wool with metal threads, bisque ceramics
2017
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Favorable Points #1-3
Bisque ceramics, pigment ink, cholla ball
2017
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Andrea JespersenAndrea JespersenAndrea JespersenAndrea JespersenAndrea JespersenAndrea Jespersen