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JESSA CARTA*

  1. Rhizomatic Repair(2023)

  2. Trash & Treasure(2023)

  3. Exchange Rate(2023)

  5. Veriditas(2021)

  6. Night Blindness(2021)

  7. Twin Origin(2022)

  8. Breath Type(2021)

  9. Dead Reckoning(2018)

  10. LAND LAND(2017-present)

  11. Lifespan Of A Memory(2019)

  12. Resting Eye Monument(2016)

  13. Charcoal Gestures(2020)

  14. Because I Was Standing(2017)

  15. Continuous Connected(2016)

  16. LOVECITYLOVE(2013-2016)

  17. Things People Say


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Jessa Carta is an omnidisciplinary artist and creative project consultant. She is compelled towards rhizomatic frameworks, pattern literacy and the healing power of ritual containers. Jessa is attuned to the ineffable wiggliness of nature and its harmonious systems/structures in equal measure.

Jessa’s work tracks the leading lines of value, identity and performativity and plays host and witness to the cycles of life <> death <> life present in our ecosystems and egosystems.

Jessa is a deep empath who opens herself to the collective unconscious and vows to give it expression. Her fierce belief in understanding and respecting authentic truths has led her down a path of seismic connections. What she creates has been described as possessing“a rare mythic perspective”, “assertions of feminine power” and Jessa herself has been referred to as “an underworld intermediary”.

Jessa is currently the prime mover of arts-based research project LAND LAND. Jessa is a founding member of the Seattle-based experimental collective LOVECITYLOVE - a diverse, accessible, and inclusive secular art church. Her education and research has included  certifications as a natural builder, permaculturalist and solidarity economist. These interests intersect to net a practice committed to the regenaissance.

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*Jessa’s patrilineal last name is Carter which means messenger, mail carrier or a person who carts goods. In a move towards fewer belongings and more belonging, less doing and more being, Carta replaces “the messenger” for the message itself from the Latin “paper” “map”.

Resting Eye Monument

(2016)
4 Hour Durational Performance, The Terminal Sales Building, 3rd flr, 1st ave, Seattle, Wa
May 1st, Sunday, during the May Day Protest, 2016

Twelve artists, three Prime Movers Jessa Carta, Jillayne Hunter, KB Thomas. The event was unadvertised, guests received invitations by mail. Forty-three guests attended.

Themes embedded in the work and it's process : understanding as the revelation of incomprehension, facades of civility, roles, fables, mythos, ceremony, animus mundi, digital image consumption, diachronic still image narratives, time as a circle, reconstruction of reality by group / individual transmutation, transiency, channeled arcane half-memories of other lives and concurrent realities, the further embodiment of a matriarchal shift.

Kodak Portra 400 Still Images, Digital Still Images and Polaroid Still Images by Jessa Carter, kb Thomason, Jillayne Hunter, Christopher Williams, and Sohail Fazluddin. VHS footage by Lucien Pellegrin.

Supporting Artists : Ria Leigh, Ari Leigh, Alan Sutherland, Michele Andrews, Azure Andrews, Sam Anderson, Lucien Pellegrin, Zachary Self, Jennifer Hotes, Hanna Yohannes, Connor Goulding, Isabella Du Graf, Aarin Wright, Olisa Enrico, Daniel Blue.



Documentation of Resting Eye Monument was designed and published by Companion Platform and showcased at the San Francisco Art Book Fair as a catalog of images and an aleatory index, documented once, twice, three times removed, from a performance that took place in The Terminal Sales Building in Seattle, WA, on May 1st, 2016 during the May Day Protests.

Edited by Jessa Carta, the unbound book of folded sheets comprises of images by Jessa Carta, kb Thomason, Jillayne Hunter, Christopher Williams, Lucien Pellegrin, and Sohail Fazluddin, with captions by Jenn Hotes and Kim Upstill. The images correspond to captions within the index, creating a delicate precarity in the pages remaining unbound… if disheveled both image and index will spiral into poetic abstraction. The title of the book is hidden and dispersed throughout the creases in the spine. Pages of the book have been used as wall coverings, wrapping paper, placemats, and eventually a score for further performances.