Video of Gillian installing "Reveal" here

I believe that the way of perceiving that I have developed living in nature leads to a shared sense of wholeness, to a sense of in-commonness of our mutual interconnected survival.

Sideways (detail), 2008, Wood, steel, stone, 10' x 12' x 30'
My work tries to speak as part of something already existing, not as a product of something I ‘made up'. My work has been one long search to find what really is common to us all in nature.
Field Markers c.1985-2000
At first, in my sculpture during the 1960’s, I relied on observation and fact collection by casting everything I could in plaster including parts of roads, tracks, footprints, manholes…


Gillian Jagger casting a manhole and Bridle Path, plaster, pigment, earth, resin and fiberglass, 1967, 5’ x 2.5’
…and finally water, by adding cement to the downhill pour.
Comhla-Ri, 1985, Quick set Cement, 30' x 16' x 20'

The appearance of these pieces caused me to notice the ‘real thing’ in rock formations.

Talahm, 1987
Bluestone, welded steel, chain, 15’ x 25’ x 20’ x 3”
Africa 1977
I removed sections of stones intact directly from quarries and kept the glacial original arrangement of parts by welding them together as I had found them.

Fhatast, Scath I & II, 1987

By the late 1980’s I began working with sheets of lead which I hung up and let slump into natural bulges which I then backed with resin.



working with a chain hoist

In the studio in 1991 with Dochas, Fhatast, Scath I & II

The formations that occurred in the lead and resin works once again caused me to notice the ‘real thing’, this time in old, decaying trees and animals’ bodies.

Drawing underneath Gatsby

hoofmarks of ponies in Connemara, Ireland

Since 1985 I have been bringing ‘found life’ into the studio which points to the essential, significant forms that repeat through time in nature – meandering, spiraling, branching, cracking...



Gillian Jagger and Tom Motzer working on Following the horses, 2008 and a detail of the finished work

The trees, I gut, polish, arrange, sometimes even paint, to bring out repeating forms common to us all.
Shelter tree, 2012, Wood, steel, resin, 14' x 5' x 2'
Trees are seen in forests or as timber or as furniture, but how seldom we see them as reflections of ourselves.
Aon, 1992, wood, steel, chains, 11.5’ x 6’ x 2.5’
How seldom, I believe, we see in each other what we have in common with the formation of the tree.
Reveal, 2011, Wood, chain, steel, 15' x 5' x 40"
Drawing for me has always been the place I go to, to begin again. I am not conditioned by the piece I have just completed. I am not controlled by my latest angle of vision.
In Memory, 2001, collage of paper and paint, 48” x 27”
Pause, 2004, charcoal, paint and pastel on paper, 11' x 11'
The drawing experience is the one place where I feel close to complete freedom in my life. When drawing we can redefine where we put our gaze.
Steer II, 2004
Acetate, caron d’arche, oil stick, paper, 52” x 37”
At times my own drawings have taken me to a vulnerable personal place.
I have gone there because, when drawing, I could clearly feel the necessity of doing it that particular way despite the conditioning of a world that right now does not think much of vulnerability.
Endure, 2004-12, charcoal and pastel on paper, 8' x 4'

Alice, 2004, acetate, caron d’arche, oil stick, paper, 29” x 30” 

 I guess drawing is a place where we can redefine ourselves over and over again.