Interview by Max Honigmann.

Jessica Sallay-Carrington is a Montreal-based artist who works primarily with the medium of ceramic sculpture. All her pieces are inspired by messages of liberation or by a contestation of traditional norms; the animal’s body and features of each piece are deliberately designed to bring its message to life. As Jessica explains, “A lot of my pieces have been pushing the boundaries of body assumptions, what we define as male and female, and what it all means for individuals who don’t identify with the male-female gender binary.”

One aspect of her work that immediately draws attention is the anthropomorphic sexualization of her sculptures, which are typically shown nude and display patches of thorny pubic hair. These unconventional depictions serve to challenge our views on gender and the female body, showing traditionally vulnerable beings in unexpected contexts of confidence and empowerment.

Clay is her base material of choice, constituting the corporal foundation of each her pieces, typically in the form of a prey animal. She then adds detail to the body, often through the use of organic materials. “I’m very drawn to the natural world, so I use lots of furs, feathers and bones, which I’ll often find while venturing through forests and stuff.”

Jessica was raised in Vancouver, where she spent two years pursuing artistic studies at Emily Carr University before transferring to Concordia University in Montreal. Though Montreal’s vibrant art community has been a consistent source of inspiration for her, Jessica aims to use her art to travel the world and display her work in places that may not necessarily be exposed to the gender-positive ideas that permeate Montreal.

Beyond her Centerfold exhibition, Jessica’s work will be on display at Gallery Luz in the Belgo Building, from April 6-30. Anyone interested in seeing more of her work are invited to stop by.

See more of the artist’s work on her website and Facebook.