jac ball

The sculptural forms in Jac Ball's early series of photographs were created in the studio using a variety of materials and casting processes.

As Jenepher Duncan stated in the Remix catalogue [Art Gallery of WA 2011], "For Jacqueline Ball, the fact that the camera can 'lie' is part of its appeal as she explores the artifice of physical space built on differing scales using ordinary materials like cardboard, metals and wood. The actual physical working process that insists on her engagement with materials and space is central to her creative process, and is as much a part of the final work as the photographic image she has created." Each form is presented for examination as if it were on a stage, awaiting an action to unfold suggesting the notion that "objects are not inert and mute but they tell stories and describe trajectories." [Laura U Marks. The Skin of Film, London: Duke University Press, 2000, p80.]

Jac Ball's more recent works have entered a more intimate realm, drawing from life, camp aesthetics and the 'confessional' online genre. The colours have become saturated and their palette has moved from a virtual mono-palette to a broader spectrum of colour.

Jac Ball is a PhD candidate at Curtin University, and has been professionally exhibiting for ten years. Significant group shows include Looking but not seeing at the Benalla Art Gallery in 2018, HERE&NOW17 at Lawrence Wilson Art Gallery UWA, New Matter: Recent forms of Photography at the Art Gallery of NSW in 2016, Invisible Genres at John Curtin Gallery in 2016, Transcendental at Galerie Pavolva in Berlin in 2014, Dusk to Dark at the Queensland Centre for Photography and the Toowoomba Regional Art Gallery in 2014, the prestigious Primavera exhibition at the Museum of Contemporary Art Sydney in 2013, and Remix at the Art Gallery of WA in 2011.

Their artworks can be found in the collections of the Art Gallery of NSW, Art Gallery of WA, University of WA, Murdoch University, Wesfamers, Kerry Stokes Collection, North Metro TAFE and Artbank.