stacy jo scott

eugene, oregon, usa

Stacy Jo Scott, The Sign of the Enterer, 201X "The Sign of the Enterer is a series of objects and performance based on a text written using a predictive keyboard program trained on source material from cyborg myth, queer utopias, writings from a lat… — **Stacy Jo Scott**, ***The Sign of the Enterer***, 201X "*The Sign of the Enterer* is a series of objects and performance based on a text written using a predictive keyboard program trained on source material from cyborg myth, queer utopias, writings from a late 1800s magical order, and descriptions of pottery found in ancient Roman England and Corinth. This text acts as a script for both the objects produced and the performance of recitation and sound, describing a speculative queer futurism.”

A couple of times in my life, because of a crisis or trauma, what is most deeply true, meaningful and life-giving has risen to the surface. This has been one such time. There is something about profound uncertainty or the inability to truly know a situation that leaves me open and more receptive.

I have oriented my state of unknowing to the daily routines of studio practice. I moved the essentials from my off-site studio to our home garage. These essentials include a pottery wheel, a clay printer, drywall surfaces to place over home furniture, studio chairs, an air compressor, an air filter, a Shop-Vac, buckets of soft clay, and buckets of water. In working from home, I’m finding that studio practice is weaving more integrally into my day-to-day life, which has expanded what studio practice feels like to me.

I know that this place of unknowing is profoundly fertile. While I find it difficult to stay in that place of unknowing and uncertainty for long I’m trying to act it out through processes that are experimental and materially pleasurable. I want these processes to root in my body, whether it is throwing porcelain on the wheel or drawing in clay through the 3D printer. Because my body and the material are here. Now. And in all of this destabilization, sorrow, anger, and fear, I can still know this body, this material, in this moment in time. They can be an anchor even as they themselves change.

Stacy Jo Scott, Tender Scans, 20XX. “Tender Scans emerged from thinking about my queer body in relationship to ways in which bodies are imaged, rendered, and shared through digital archives and the digital production of objects. This use of skin-as-… — **Stacy Jo Scott, Tender Scans, 20XX.** “*Tender Scans* emerged from thinking about my queer body in relationship to ways in which bodies are imaged, rendered, and shared through digital archives and the digital production of objects. This use of skin-as-data, body-as-file, conjures sensations of marginality, transience, ephemerality and fragmentation.”

during the pandemic, stacy jo scott made a series of works inspired by the poem “VOICES” from ALICE NOTley’s collection entitled certain magical acts, as shown in the following sequence.

And then you are someone. First I was voice. Crying? No, I made sounds—

metrics were the first sounds in the cosmos. Oh, that's ridiculous

There was a face just materialized, so it could chant poems.

The voice demarcated patterns of sound; poetry is living—

I am composed of mathematical proportions, equations,

I am composed of poetic structure. I am a voice of lines,

without this measurement I’d not find you

must we find each other?

The first chant is raw words: I don't know them, they're from another tribe

Yet I said them in a sense: For I was there. It was only a dream.

BIO: stacy jo scott

Stacy Jo Scott is an artist and educator based in Eugene, Oregon. In both her artwork and her writing, she uses ceramic objects and digital processes as anchors from which to navigate shifting landscapes of queer identity, embodiment, and spectrality. These objects emerge from research and speculation, digital processes, trance practices, and chance operations. Stacy Jo’s artwork has been exhibited nationally and internationally, including most recently at Ditch Projects, Springfield, Oregon; Rockelman & Partner, Berlin; Thomas Hunter Projects, New York; and PDX Contemporary Window Project, Portland, Oregon. Her writing has been published in books and periodicals, and online, including Bad at Sports: Contemporary Art Talk, Studio Potter, and Crafts: Today’s Anthology for Tomorrow’s Crafts. She received an MFA from Cranbrook Academy of Art and is a founding member of the Craft Mystery Cult. She is currently an Assistant Professor of Art at the University of Oregon.

rate of affection

Stacy Jo Scott nominates Nicole Seisler