Carolina Jiménez&
Grace Sachi Troxell

ALISON BRADLEY PROJECTSCAROLINA JIMÉNEZ&GRACE SACHI TROXELLMay 18 - July 29 2023

Alison Bradley Projects
Curated by Cayla Blachman & Olivia Breibart

WORKS

01, 02

03, 04

05, 06

07, 08

09, 10

11, 12

13, 14

LIST OF ARTWORKS

01. Carolina Jiménez
Mangos Agrios Mangos Dulces
Linen and naturally dyed cotton
2022
96 x 96 inches

07. Carolina Jiménez
Tu Sol RojoLinen, cotton and naturally dyed silk
2020
38 x 21 inches

02. Carolina Jiménez
Medianoche
Linen and indigo dyed cotton
2022
96 x 96 inches

08. Carolina Jiménez
Sunrise, Daybreak
Silk dyed with Madder, Fustic, Indigo, and 		
Logwood; Linen; Cotton; Pine Frame
2022
16 7/8 x 21 5/8 in each42.9 x 54.9 cm each

03. Carolina Jiménez
El CaracolLinen, cotton and naturally dyed silk 			 09. Grace Sachi Troxell
Beets and Boobs(indigo, fustic, cutch)
Ceramic and steel
2022
2023
36 x 57 inches
71 x 31 x 31 inches
04. Carolina Jiménez
10. Grace Sachi Troxell
San Cristóbal
Fennel FootLinen, cotton and naturally dyed silk
Ceramic and steel
2021
2023
38 x 58 inches
76 x 44 x 36 in
05. Carolina Jiménez
11. Grace Sachi Troxell
Tranquila
Shifting Center
Linen, cotton and naturally dyed silk
Clay; cast fruit tray, carrot, turnip, beet, 		
2023
acorn squash, napa cabbage,squash, 			
45 x 48 inches
breasts, arm
41 x 78 1/8 x 2 1/2 inches
06. Carolina Jiménez
Plumeria
12. Grace Sachi Troxell
Linen, cotton and naturally dyed silk
Shy Sentinels
2023
Slip-cast pumpkins
202013. Grace Sachi Troxell
Blue
Slip-cast spaghetti squash, kabocha 			squash, muu radish, cucumber, pumpkin, 		turnip, and garlic2021
19 x 18 x 17 inches
14. Grace Sachi Troxell
Clay Baby
Slip-cast vegetable, pink mason stains
2021
13 ½ x 14 ½ x 10 inchesAdditional works by Grace Sachi
Troxell: Clay Babies, 2020 - 2023, bronze,wood fired ceramic, pit fired ceramic

WRITINGS

This catalogue presents installation images and descriptionsof the artist’s work, alongside personal writings andanecdotes from the artists that directly relate to the work.

Introduction

Spanning clay, steel and textile, this exhibition traces the connections between these artists asthey investigate heritage, the body, and memory.
Working in abstraction while maintaining concrete ties to the physical world, Jiménez andTroxell contemplate and reclaim their own ancestry, as well as that of their medium. Eachartist distinctively approaches these practices laden with histories of artistry, labor, and utility.
The self is recast into clay or textile, allowing personal experience to emerge through newforms ripe for ubiquitous understanding.
Carolina Jiménez (b. California, 1991) uses the language of abstract expressionism tocreate monumental woven paintings in which the self is understood both in their narrative
conception as well as the visibility of labor in their creation. Jiménez unites her own
recollections–a sense of belonging at a fruit stand or the hues of trees from a family home–with material memory. The process of naturally dying silk and linen yarns in her studiointimates Jiménez with the conventions of her craft in order to diverge from tradition.
Integrating these yarns with their commercially produced counterparts in various states oftension and repose, she examines the larger history of her craft in its utility and artistry. By
harnessing this materiality, Jiménez creates juxtapositions that lay bare her labor, mirroringthat of generations of artisans. Embracing various contradictions in her work, Jiménez
ultimately allows the viewer to empathize with, and synthesize, a new experience. She
captures sensations both eternal and fleeting, creating an impression of the past through anexperience in the present.
Grace Sachi Troxell (b. Illinois, 1991) similarly works with multiple modes of representation,
creating large-scale sculptures in ceramic and steel. Fusing manufactured and organic
materials, the artist creates a fraught sense of entanglement as vegetal and disembodied
forms morph into one. Troxell uses clay as a vehicle to explore her mixed Japanese, Irish andGerman ancestry; the medium itself becoming a form of generational memory. She casts
fragments of her family members’ bodies—her father’s hands, her aunt’s face, her mother’sbreast—and pairs them with organic forms, examining the symbiosis of our bodies and theearth. Like Jiménez, she touches on the functional history of her medium, bringing vessellike forms to a human scale. Referencing abject aesthetics, Troxell’s teratological sculptures
put the body on display, acting as figures themselves and embodying the narrative that theiramalgam of parts represent.
Both Jiménez and Troxell, entrenched within historied crafts, acknowledge traditional canons
while emerging anew. Together, these idiosyncratic works address the ways in which the
body holds ancestral memory, prompting a meditation on physicality, personal narrative, andbroader histories.

Press Release

Alison Bradley Projects is pleased to announce our upcoming exhibition, featuring work by
Carolina Jiménez and Grace Sachi Troxell, curated by Cayla Blachman and Olivia Breibart.
This exhibition brings together the work of these two emerging artists, examining thefluidity of their common concepts across two disparate mediums.
Carolina Jiménez (b. California, 1991) and Grace Sachi Troxell (b. Illinois, 1991) work in
traditional craft media in pursuit of contemporary expression. Working in textiles andceramic respectively, each artist distinctively approaches these historied practices. Bothelevate the potential of their medium, creating monuments to both personal and ubiquitous
histories of art, labor, and technique.
This exhibition reveals the connections between these two artists, as they investigate
heritage, the body, and memory. Working in abstraction with concrete ties to the physicalworld, Jiménez and Troxell contemplate and reclaim their ancestry and selfhood. In this two
person exhibition, the body is transmuted into clay and textile as new forms emerge throughmaterial confrontation and manipulation.
Carolina Jiménez uses the language of abstract expressionism to create her monumental
woven paintings. Working within these canons of craft and art history, Jiménez universalizes
personal narratives through color and composition. By harnessing the materiality of her
medium, Jiménez creates juxtapositions that lay bare the labor of her own process, mirroringthat of generations of artisans. In doing so, she captures sensations both eternal and fleeting,creating an impression of the past through both the making and viewing experience in thepresent.
Grace Sachi Troxell similarly works with multiple modes of representation, creating largescale sculptures in ceramic and steel. Troxell uses clay as a vehicle to explore her mixed
ancestry; the medium itself becoming a form of generational memory. Like Jiménez, shetouches on the functional history of ceramics, bringing vessel-like forms to a human scale.
In their physical presence, the pieces act as figures themselves, embodying the narrative that
their amalgam parts represent.
Both Jiménez and Troxell, entrenched within traditional artistic processes, acknowledge
history while emerging anew through their individual approaches. Together, these works
address the ways in which the body holds ancestral memory, prompting a meditation on
physicality, personal narrative, and broader histories. Alison Bradley Projects is delighted to
introduce these emerging artists to a wider audience.

Carolina Jiménez (b.California, 1991) is a textile artist based in Brooklyn, New York.
Drawing on her heritage as a first generation Mexican-American, she creates woven paintings
as a vehicle for containing and expressing emotion. While these works are abstract, they
are tied to actual places, people, and experiences, their central focus remaining the body asa site for memory. Jiménez received a BArch from Syracuse University and an MFA fromThe Rhode Island School of Design (RISD). Her work has been featured in exhibitions at
75 Chauncey, New York; Heath Ceramics (online); The Gallery at 200 Lex, New York; Sol
Koffler Gallery, Providence; The RISD Museum, Providence; and 1stDibs Gallery, New
York. She is currently an Artist Fellow at the Museum of Art and Design (MAD) in New
York City and has been an artist in residence at Casa Lu in Mexico City.
Grace Sachi Troxell (b.Illinois, 1991) is a sculptor based in Ithaca and Brooklyn, New
York. In her current work, she uses clay and found objects to explore entanglements
between organic and inorganic materials, form and deformity, and digestion, as well as her
mixed Japanese, Irish and German heritage. She received a BS in Studio Art from Skidmore
College, a Post-Graduate certificate in painting from the Glasgow School of Art, and an
MFA from Cornell University. She has been an artist in residence at MacDowell, Yaddo,
Sculpture Space, the Studios at MASSMoCa, Woodstock Byrdcliffe, Willapa Bay AiR, The
Pottery Workshop in Jingdezhen, China, Dumfries House, Scotland, and The International
Textile Art Symposium, Daugavpils Rothko Center, Latvia. She is currently an artist in
residence at Sharpe-Walentas in New York City. Troxell has had solo exhibitions at Haw
Contemporary, Kansas City; Neighbors, Ithaca; The Hartnett Gallery at The Universityof Rochester; and The Herbert F. Johnson Museum of Art at Cornell University. She iscurrently a visiting critic at Cornell University. Troxell has her first solo exhibition, Cosmic
Daikon, in New York City this summer at the Sunroom Project Space at Wave Hill, opening
June 17th. Organized by Curator of Visual Arts Rachel Raphaela Gugelberger, the Sunroom
Project Space provides an opportunity for New York-area emerging artists to develop andexhibit a site-specific project at Wave Hill, a public garden and cultural center in the Bronx.

“In years before, time was a small drop of dew.
Its existence: a passing thought. I felt I could
gather time and hold it in my hand. One perfect, gleaming moment after another. But timeis violent and unrelenting. I feel it now pullingme, every moment, towards a certain end. I
struggle to breathe and build and love withoutworry. A sadness of not bringing to life everycolor I’ve imagined. I’ve felt more alive to mydeath than ever before. I wake up in the middleof the night dreaming that I was dancing withmy grandma. She was smaller than I remembered, frailer and more gentle. Fig tree, castin darkness, deep and brooding against thecurtain. I feel her hands, bones and all, softest
skin. See hollow cheeks. I wanted to tell her
I loved her, but was lying in my bed instead.”Mangos Agrios, Mangos Dulces introduces Jiménez’ play with scale,
allowing her work to become a sort of monument, heightening
awareness of both materiality and labor. Playing with the traditionof monumental scale in the history of textile, Jiménez takes
narrative in a new direction, using it as a jumping off point for
abstraction. She uses dichotomies–between sweet and sour, linen
and cotton, tension and repose– to create something fluid and whole.

Both monumental and familiar, Fennel Foot and Beets & Boobs force the viewer toconfront these totemic sculptures with an acute awareness of one’s physicality.
By referencing the human body–they are slightly larger than the average female–
Troxell brings to life a new kind of being, with a head of clay and a body ofsteel. The dialectic relationship between these two juxtaposing materials
inherently questions their historic use and significance: two materials of the earth
with traditional utilities as structure and vessel, coming together in rare form.

“I have been drawn recently to a mimicking of the process of decay and regrowththrough sculptural means and a physical form that becomes more of a body than a gesture of the body. I have been thinking about the relationship between form and deformity, animate and inanimate, container and contained, becoming versus becoming with.”Troxell cast apple trays, carrots, turnips,
beets, acorn squashes, napa cabbages,squashes, her breasts and her partner’s
arm to create this layered ceramic
installation, with unexpected and playful
details, examining the symbiosis of ourbodies and the earth. The elliptical shapeof this site specific work derived fromthe opening of Troxell’s hand built kiln,
collapsing both the mouth of the kiln andthe circumference of the installation. The
title, Shifting Center, and work encourages a
rescentering of one’s values with ecology,
kin and selfhood as well as prompting
new considerations with our affiliations
and affections with our environments.

“Across the country in New York, I
took the subway for the first time in fivemonths. back then (do you remember?)sitting masked among strangers felt
both terrifying and comforting. When I
stepped above ground, I was comfortedby the sun glowing a soft pink. I was
comforted by this quiet moment ofbeauty, but my mother reminded meon the phone that smoke from thewildfires had made its way over to me
from home, shifting the colors above.
Her red sun was my pink sky.”
Tu Sol Rojo is exemplar of
Jimenéz’ contemplation of color
in everyday moments– extracting
variations in hues from her own
impressions and translating theminto the language of Abstract
Expressionism. This abstraction
highlights the materiality ofher work and allows the viewer
the opportunity to experience
it anew. Her broader themes
too are present in this work,
considering home and her past,as wildfire smoke drifted from
California, creating this mosaic
of pink in the New York sky.

Made entirely of slip-cast vegetables that Troxell grewin the Ithaca Community Garden, Blue playfully creates
something alien out of something familiar. The caustic,
artificial colors created by the mason stains - sprayedonto the clay using an atomizer- juxtaposed with thenatural vegetal forms perhaps reference the industrial
chemicals that enter our body through our food andthe damaging and irreversible effects they cause us.

Tranqiula & Pluemeria allow formaterial contemplation, between
silk and linen, dyes, and theprocess of weaving itself. The
iterative language of this pieces
lay bare the various combinations
Jimenez’ technique exists in, andthe resulting effect of each.and
irreversible effects they cause us.

Carolina Jiménez CV
Solo Exhibitions
2022
Mangos Agrios, Mangos Dulces, 75 Chauncey, New York, NY
2021
Solstice, Heath Ceramics, Online
Group Exhibitions
2018
Surface and Structure, The Gallery at 200 Lex, New York, NY
The Whole Nine Yards, Sol Koffler Gallery, Providence, RI
Designing Traditions Biennial, RISD Museum, Providence, RI
2017
Work in Process, DESIGNxRI and RISD Museum, Providence, RI
New Talent, 1stDibs Gallery, New York, NYAwards & Residencies
2023
Museum of Art and Design Artist Fellowship
2022
Casa Lu Residency
2017
Bertha Gray Hayes Memorial Scholarship
2016
RISD Departmental Fellowship
2013
Crown-Wise Grant
2012
Coluccio Salutati Award

Grace Sachi Troxell CV
Solo Exhibitions
2023
Cosmic Daikon, Wave Hill, New York, Ny
2022
Potato Séance, Hartnett Gallery, University of Rochester, Rochester, NY
2021
Potato Séance, Herbert F. Johnson Museum, Ithaca, NY
2021
No More Chicken Nuggets, Mommy, Neighbors, Ithaca, NY
2020
Their Planet Exploded, Herbert F. Johnson Museum, Ithaca, NY
2020
The Soul of a Turnip, Tjaden Gallery, Cornell University, Ithaca, NY
2017
Burnt Honey, Haw Contemporary, Kansas City, MO
Two-person Exhibitions
2023
Fluorescent Dirt (With Patrick Brennan), Cohen Gallery, Alfred, NY
2022
Radical Botany (with Rachelle Dang and Landon Newton), Tjaden Gallery, Ithaca, NY
2020
Variations on a Dot (with Patrick Brennan), Experimental Gallery, Cornell University,
Ithaca, NY
2015
Not Good, I Start Again (with Evangeline Riddiford Graham), Susquehanna Center for theArts, Columbia, PA
Group Exhibitions
2023
Paroxysm, Westbeth Gallery, New York, NY
2022
Local Futurities, Cornell Biennial, The Cherry Arts, Ithaca, NY
2022
Life as Clouds, String Gallery, Wells College, Aurora, NY
2021
Badminton Tournament, Bridget Donahue Gallery, New York, NY
2021
Far and Wide (jurors: Nicelle Beauchene and Franklin Parrasch), WAAM, Woodstock, NY
2021
Biennial: Swarm, Cornell University, Ithaca, NY
2021
What Ends Up in a Book, Herbert F. Johnson Museum, Ithaca, NY
2020
How to Build an Ocean, Jack Hanley Gallery, New York, NY
2020
Maximum Occupancy, Herbert F. Johnson Museum, Ithaca, NY
2019
12, Random Access Gallery, Syracuse University, Syracuse, NY
2019
Pure Wobble, Tjaden Gallery, Cornell University, Ithaca, NY
2017Fresh AIR, Woodstock Byrdcliffe, Woodstock, NY
2016
Reclamation (curated by Ian Berry), Collar Works, Troy, NY
2015
Bemis Center Benefit Art Auction, 2015, Bemis Center, Omaha, NE
2015
Exit. Cartografia de la Creatividad, El Museo De Arte de Sinaloa, Culiacan, Mexico.
2015
Artifacts, Troy Night Out, Contemporary Artists Center, Woodside, Troy, NY
2014
FiveMyles Benefit, Five Myles Gallery, Crown Heights, NY
2014
Seeking Space, The Active Space, Bushwick Open Studios, Bushwick, NY
2014
Imagine This, Brooklyn Waterfront Artists Coalition, Redhook, NY
2014
Far and Wide, Woodstock Artists Association and Museum, Woodstock, NY
2014
Masur Museum 51st Annual Juried Competition, Masur Museum, Monroe, LA
2014
Nite Flights, Underground Car Park, Glasgow, Scotland, UK
2014
Lost World / Found World, Susquehanna Art Museum, Harrisburg, PA
2013
Thesis Exhibition, Tang Museum, Skidmore College, Saratoga Springs, NY

2013
2013
2012
2012
2012

Layers, Saisselin Art Building, Skidmore College, Saratoga Springs, NY
Juried Student Exhibition, Schick Gallery, Saratoga Springs, NY
For Only Gossamer, My Gown, Tang Museum, Saratoga Springs, NY
Bindings, Fenetre Gallery, Harrisburg Area Community College, Harrisburg, PA
Iphigenia in Aulis, Case Gallery, Saratoga Springs, NYAwards & Residencies
2022

2021
2020

2019
2017
2016
2015
2013

2012

Sharpe-Walentas Studio Program
The Puffin Foundation Grant
Marjorie Strider Foundation Award
Sculpture Space, summer artist-in-residence
CATWALK Institute, artist-in-residence, Catskill, NY
Specific Opportunity Stipend, Community Arts Partnership, Ithaca, NY
Warren Mackenzie Advancement Award, Northern Clay Center, MN
John Hartell Graduate Award for Art and Architecture, Cornell University, Ithaca, NY
Cornell Council for the Arts Grant, Cornell University, Ithaca, NY
Nomination, Dedalus Foundation MFA FellowshipAnderson Ranch Workshop scholarship, Snowmass Village, CO
Art Microgrant, Cornell University, NY
Willapa Bay AiR, spring artist-in-residence, Oysterville, WA
Scholastic Art & Writing Awards Alumni Microgrant, NY, NY
Yaddo, summer artist-in-residence, Saratoga Springs, NY
MASS MoCA Studios, summer artist-in-residence, North Adams, MA
The Pottery Workshop, spring artist-in-residence, Jingdezhen, China
MacDowell, spring artist-in-residence, Peterborough, NH
Woodstock Byrdcliffe, summer artist-in-residence, Woodstock, NYInternational Textile Art Symposium, Daugavpils Rothko Center, Latvia
Contemporary Artists Center, Woodside, summer artist-in-residence, Troy, NY
Dumfries House, fall artist-in-residence, Scotland, UK
Periclean Scholar, Skidmore College, NY
Jess Solomon Memorial Award for painting, Skidmore College, NY
Janet B. Schwem ‘36 Scholarship for an art student, Skidmore College, NY
Mary Haight Shulha Studio Art Award, Skidmore College, NY
See-Beyond Grant, funds to study textiles in Japan, Skidmore College, NY

Courtesy of Alison Bradley Projects
Copyright of Alison Bradley Projects
526 W. 26th Street, Suite 814
New York, NY 10001