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Natalie Jacobs sees strange life in the spaces between apparent contradictions. To view her work is to find pleasure in the paradox––in the familiar alienation of intimacy, the uncertain joy of despair, and the lurid, technicolor beauty of a world on the edge of collapse. Though Jacobs’ perspective is clearly informed by a generational sense of nihilism and irony, it is also undeniably hopeful; there is much more than life in the bodies she paints. This is perhaps most apparent in her treatment of figures, which ache like childhood friends and swell like new lovers, each of them somehow exalted by Jacobs even as she damns them (to this earth, to those wounds, to these bodies).
-Colston Merrell
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