Oil Mixed Media

“Rift Valley, Sonde IV” is a richly textured mixed-media composition that captures the interplay between natural and abstract forms, evoking the raw beauty of nature while offering a...

“Rift Valley, Sonde III” is a richly textured mixed-media composition that captures the interplay between organic and abstract forms, evoking the raw beauty of nature. The earthy pa...

"Rift Valley, Sonde 2" is a textural and elemental abstract painting on canvas. It explores the hybridization of chance-derived color-fields with textural topography. Various techniq...

“Rift Valley, Sonde IV” is an evocative mixed-media composition that captures the raw essence of nature through its textured, multilayered surface. The earthy palette—browns, ochres,...

“Rift Valley, Sonde III” is a richly textured mixed-media composition that captures the interplay between natural and abstract forms, evoking the raw beauty of nature while offering ...

“Rift Valley, Sonde 8” is a striking mixed-media composition that harmonizes Color-field staining, impasto-relief techniques, and gestural painting to create an immersive, multilayer...

"At Sea between Fossils and Satellites 7" is a textural and elemental abstract painting on canvas. It explores the hybridization of chance-derived color-fields with art deco aestheti...

"At Sea between Fossils and Satellites 7" is a textural and elemental abstract painting on canvas. It explores the hybridization of chance-derived color-fields with art deco aestheti...

"Rift Valley, Sonde 1" is a textural and elemental abstract painting on canvas. It explores the hybridization of chance-derived color-fields with bas-relief aesthetics. Various techn...

“But then, the backside of heroism is often rather sad; women and servants know that …But the achievement is smaller than men think. What is large is the sky, the earth, the sea, the...

“Rift Valley, Sonde 7” is a striking mixed-media composition that harmonizes Color-field staining, impasto-relief techniques, and gestural painting to create an immersive, multilayer...

"Rift Valley, Sonde 1" is a textural and elemental abstract painting on canvas. It explores the hybridization of chance-derived color-fields with bas-relief aesthetics. Various techn...

"At Sea between Fossils and Satellites 9" is a textural and elemental abstract painting on canvas. It explores the hybridization of chance-derived color-fields with art deco aestheti...

"Rift Valley, Sonde 2" is a textural and elemental abstract painting on canvas. It explores the hybridization of chance-derived color-fields with textural topography. Various techniq...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

“Exposed as our camp was to every wind, we built no rigid structures above ground. We set up tents to shelter in while we dug a series of cubicles in the ice itself.” Over the Edge ...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien who have been inspired by the explorers of the past. Like them, she draws, in part, on the singular tradition of polar exploration narratives as well as fictions such as Ursula Le Guin’s “Sur” (1981), a utopian feminist hoax in which a party of South American women reach the South Pole in 1909, two years before the official arrival of European explorers. Le Guin’s explorers do not feel compelled to leave any written record or physical proof of their presence at the South Pole. If Le Guin’s women might have made it, what other traces have been missed? Collage can work alongside alternative history: it interprets, interrupts, and rearranges. It questions the completed whole, instead emphasizing composition and relation. Collage suggests it all might be … otherwise. Houston’s collages flaunt their second nature. Yet what they show remains somehow plausible. You want to believe what you’re beginning to see. In “A life Attuned to Larger Rhythms” Houston grids out rectangles of captured images to overwhelm the eye as the polar environment itself might (whiteout is a paradoxical species of optical overstimulation). Through the strangely ordered confusion of an ice survey grafted atop a chessboard, the mind begins to recognize new connections, emergent shapes: a different future? In “Launching Strategy” a yellow-orange pyramid balances garishly atop a tent. Which came first, the realist tent or the Platonic shape? Can we ever be sure that we’re not already seeing through premade abstractions? Or is it that baggage we’ve been dragging along? In “Architecture of the Anthropocene” and “Red Blood, Red Earth” Houston reroutes visually symbolic through-lines between women and non-European people and the official history in which they appear dimly or not at all. A full-skirted woman holds onto the tether of a kite that seems to pull her upwards towards a weather balloon floating above an Antarctic base’s radio tower; a row of tropical workers wielding pickaxes folds into the trajectory of a sailor aiming a bow and arrow at an iceberg stained with red. These are not people or images normally associated with polar discovery. But shouldn’t they matter? “Territory Over Land” strips in a scene from a painted depiction of the tropics, possibly from one of Captain James Cook’s circumnavigations. “Captain Cook’s Legacy” more directly confronts an official portrait of Cook with the torn-in eyes from what can only be described as the explorer’s anonymous dark Other. The hybrid portrait is a kind of contact zone. “Henson and Peary – Past Entanglements” is a cooler, less volatile twin portrait of disputed discoverer of the North Pole Robert Peary...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

“Of the return voyage there is nothing to tell… In 1912 all the world learned that the brave Norwegian Amundsen had reached the South Pole; and then, much l...

“She dug out one more cell just under the ice surface, leaving nearly a transparent sheet of ice like a greenhouse roof; and there, alone, she worked at sculptures...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

“Eight Adélie Penguins immediately came to greet us … They insisted on us going to visit Hut Point, where the large structure built by Captain Scott’s pa...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

“When I was little more than a child my imagination was caught by a newspaper account of the voyage of the Belgica…” Over the Edge of the World locates itself in the entangled lega...

"…last Thule of the South, which lies on our maps and globes like a white cloud, a void, fringed here and there with scraps of coastline, dubious capes, suppositious islands, headlan...

“A SUMMARY REPORT OF THE YELCHO EXPEDITION TO THE ANTARCTIC, 1909-1910. Although I have no intention of publishing this report, I think it would be nice if a grandchild of mine, or somebody’s grandchild, happened to find it some day; so I shall keep it in the leather trunk in the attic, along with Rosita’s christening dress and Juanito’s silver rattle and my wedding shoes...