Image list starting at the banner:
01. Sanctuary (a b), 2016, Clay, Binary Inscription, Laptop Computer with Generated Sound, Moscow Installation- 5th Moscow Biennale for Young Artists.
02. Sanctuary (a b), 2023, Morning Light, Clay, Niche, Smartphone with Blue Screen.
03. Golemic Tablets, 2023, Diptych, Clay, Concrete, Bedding Straw.
04. Golemic Bricks with Hands, 2023 Clay, Concrete, Ash, Beeswax, Bedding Straw, BinaryInscriptions.
05. Formation 18, Permanent Collection at Dowd Gallery, CUNY; Cortland, Clay, BeddingStraw, Acrylic Paint, Buried Drawings on Paper, Mounted on Wood Panel
06. Golemic Formation; Kaddish, Clay, Acrylic Paint, Vinyl Record and Player with loopedRecorded Sound Processes, Mounted on Wood Rectangular-Cuboid Structure
07. Ida (Chesed) Diptych, 2015, Oil Paint, Tar, Bedding Straw, Mounted on Wood Panel.
08. Elke (Tzur), 2015, Oil Paint on Canvas, Mounted on Wood Panel.
09. Hive, 2015, Oil Paint, Crayon, on Wood Panel
10. Golem( מת ׀ אמת ) Mud, Acrylic, Crayon on Paper, Deborah Roberts Collection, 2014.
Born in 1981, JS-Horseman (Jeremy Santiago-Horseman; ירמיהו) has carried his creative practice to Baltimore, Philadelphia, Eastern Connecticut, Boston, Syracuse, New York City, and Los Angeles. He has also participated in other international exhibitions and venues in Jerusalem, and Moscow. Horseman’s work has been acquired in the LeWitt Collection, Sigmund Balka Collection, Peter Carlson of PF Sterling Design, Dowd Gallery of CUNY; Cortland, and the Deborah Roberts Collection. He currently lives in Eastern Pennsylvania where he continues his painting, sound art, musical composition, and multidisciplinary artist practice.
As a multidisciplinary artist and extended field painter, JS-Horseman’s initial philosophical platform contemplates the physical and psychological effect of the temporal interaction of space and objects, as they relate to the interior and exterior of the human body. A ‘room’ and a body are similar in that they are activated and shaped by surrounding objects and energies.
As a sound designer, composer, and visual artist, JS-Horseman (Jeremy Sant-ago-Horseman) mixes traditional musical score and instrumentation with experimental tape/ microphone recording and modular synthesis. Horseman’s practice navigates and explores with melding sonic, visual, sculptural, and narrative art forms. His artistic manifestations range from 2D paintings and musical compositions to illustrated record Vinyl projects, Digital releases, sound-based Installation art, and film score.
His work aims to reinterpret a spectrum of storytelling through a more contemporary technological lens, layering the intimate, emotional, and spiritual aspects of folklore with the seemingly emotionless aspects of technology. JS-Horseman’s creative research is culled in science fiction, folkloric traditions, religious literature, along with concepts explored in physics such as time travel and parallel/multiple dimensions. With the use of paint, sound, light, color, code, and clay, he creates both 2-D and spatial constructions that bring forth concepts from myth and mysticism and confronts evolving world crises, amid our digital and A.I. era.
At a deeper look, his artist practice frequently meditates on the golem, the iconic clay ‘android’ of Jewish folklore and kabbalistic texts–brought to life through means of magical incantations. For JS-horseman, the subject inwardly represents a curious cross-section of mysticism and science fiction. And, It is an emotional embodiment of desperation, anxiety, naivety, physicality, and supernaturality, summed to a central theme; the desire to bring life to an inanimate object. In JS-Horseman’s perspective and life experiences, the golem’s narrative sphere initiated a fantastical muse and has evolved with a conceptual process of conjuring memory and projecting emotion into physical objects and spaces. With a background in painting, he reaches into extended materials such as clay/mud, objects of memory, ‘apparitions’ of natural and synthetic light/color, and a variety of sound elements. Likening sound processes and binary inscriptions to “incantations,” all of the ingredients of his 2D and 3D installations work together as meditations on animating life to a lifeless body.
“With years of contemplating the subjects of the golem along with many other legends and mythologies, I have arrived at a multivalent interest in the process of formation. With the narrative implications of the golem, my work emphasizes elemental and symbolic materials,
along with formal elements of art and design. I identify physical space and organic materials like clay/mud, concrete, mortar, pigments, tar, and straw as anatomical. I wish to confront an audience with the perception that these metaphoric “bodies” are formed and activated from the presence of light, color, and sound. I hope to convey the feeling that such audio/visual experience is both visceral and ephemeral, that they are the forces that have tempered malleable shapes into concrete, recognizable humanoid forms.”