Show One | 03.27.2026
Jaye Harris
SCULPTURE
Artist Statement
The matter of my work is underlined by the material I use. Metal has a real longevity, a persistent presence long after my sculptures are created. The culmination of this being what I pass on to the future. I want people to sit and have a conversation with me. Even if I am not there physically. I want everyone to sit and share a quiet moment. It has become more apparent in my sculpture the need for human scale. The encouragement to touch and sense is implicit. Perhaps you know me maybe not but the invitation is ever present. Please take a moment to enjoy the quiet. Should this give you a sense of longevity, or lasting presence is only for the good. Stay a moment and remember . The feeling of connection can happen for any of us. I hope my effort find you in a peaceful moment.
Statement of Intent
1. My biggest direct influence has to be my mother. She has been painter and creator as long ss I can remember. She worked predominately in oil. My first competition was encouraged by her when I was barely 12. Even then she encouraged experiment and that it was important to push. I do not remember how many failures got gesso and repainted, but I was excited even then to play. I enjoyed abstraction. Her critiques really helped me improve. Later on she began working acrylic and watercolor into her practice. She taught watercolor and acrylics at Germana College in Northern Virginia for the next 35 years. The Priests at my parochial School, St. Mary’s Catholic Church, encouraged my art practice from middle school on. My next influence was definitely my Father. He was a mechanical engineer for Marriott Corp. and he gave me access (and direction) to every shop tool in the modern fabrication world. We bought, repaired and sold cars most of the time during my upbringing. The welding and fabrication skills have been a part of practice and occupation my entire adult life. After my discharge from the US Army. I settled in Atlanta, Ga. Where I took up an apprenticeship with Ian Kirby, an 18 th century furniture maker. I developed a love of wood work and hand tools. This all to say my concern for a sustainable art practice stems from the antecedents that taught and proceeded me. I am mesmerized by the roadside monuments and simple shrines erected to the loss of friends and family. Theses have a long history in the country and my research led to the Greek Kandylakia where these roadside moments have been maintained by family since the Byzantine era.
2. I want to invite friends and family, born and chosen, to sit for a spell and talk with me or about them or us. While these have some religious connotations, that is as you will. Having said as much its worth remembering that in Wicca a spell is a means of communication, in Christianity and Buddhism prayer is that communication. Very often its just a chance to touch memories and speak about them. You would walk up to my sculpture and sit if thats one or two. I suspect in my garden you might have to navigate the Hydrangeas that dominate the setting. While I have no way to control the future of my sculpture (my wife has my directives and power of attorney) Susan knows my wishes.
3. These three oak slices are larger than a chair seat and a little bit smaller than an altar top. I am removing the outer bark and leaving the soft wood on the edge. It will be sanded on top mildly to reduce the incidence of splintering, It will be finished with oil so it ca be renewed and less subject to the environmental. The curvature of the cuts lends itself to seating. I may enhance that effect. I will first modify a dummy piece to see. If this looks the way I expect then the time line looks to be about a month of work to prep the wood components. The feet or
support under the wood top will be forged from 2 inch rolled steel. The feet will be forged to add stability out doors. My intention is to connect in an ellipse the three pieces.
4. I am trying to create a lasting sculpture that might answer two questions. First, can I create a sacred or reserved space for contemplation and reflection? Second, can I create a sculpture that allows this moment for contemplation and reflection with the materiality to last for future family or other to enjoy the moment and opportunity. This concept provides a sacred space to stop and breath for a moment. It is intended to be outside so longevity is important. The space is intended to provide a moment to sit and talk to me or others or no one at all and allow it to be private, personal heartfelt.
5. The roadside shrine, memorial or the greek “Kandylakia,” have all been a part of culture world wide since Byzantine times. These sacred spaces first began being recorded as early as 1015 c.e. In more modern times the memorials are often erected to remember a death or the passing of a loved one. I see this sculpture as a continuation of my practice to create pieces of lasting value. Not just the economic systems but the memories of my thoughts in creating sculpture that invites you to speak to me. Even when I'm absent. Just abstract enough to create curiosity. Recognizable enough that you do not struggle.
OBITUARY