Jane Georges on Feeler

 An interview with artist Jane Georges by Susan Musich

 A standout artwork in Windows to the World at 6018North is comprised of respirator tubes cascading out a second-floor window. Susan Musich talks with Jane Georges about Feeler during the installation.

 I’m drawn to your practice because of the unusual materials you use. Why respirator tubes for this piece?

Jane Georges: I got the respirator tubes as a donation from an installation-art-based company who had an excess. One of my friends let me keep the tubes in their basement. I had been wanting to do something with them and storing the tubes was the weight of my life. Unfortunately, with George Floyd being murdered and everything that has recently become a reality with the pandemic, it was the right time to use them. 

I understand the curators did virtual studio visits. How did you all decide on this particular piece?

When they interviewed me, I had four different ideas; we all thought this was the most fitting. I felt passionate about it and it’s the most relevant for what’s happening right now in the world.

How did Feeler look in its initial version?

I put together a rendering of the respirator tubes coming out the window. Originally, from the top window, but I didn’t know what other artists and pieces would be involved. It’s coming out of this [second floor] window now and it’s just straight; I combed it out, but that’s not how it’s going to be. I want it to be more organic and flowing like a river or tears. It’s going to organically evolve over the next day or two.

The obvious interpretations of the piece are George Floyd, “I can’t breathe,” and COVID-19 ventilators. Are you owning these interpretations, do you want them to be broader, or do you want people to decide for themselves? 

All of those things. As I work, the meanings evolve and that’s part of my process. The original concept behind the piece started with Tricia [van Eck of 6018North] telling me about two trees out front and how one of the trees was giving her problems because the roots were interfering with the plumbing. A plumber told her that the roots were called feeler roots. So, the title is Feeler because these roots go out looking for nutrients and once they find them they call for the rest to follow. I thought that was the most beautiful thing ever. There’s one main root that looks out for everybody.

How poetic, especially today when looking out for each other is so important. I was going to ask how you selected the title. Please go on.

Then I was asked to be part of the show and George Floyd and COVID-19 and respirator tubes, which are relevant on so many levels but also we are all feelers; we have so many feelings right now about everything that’s happening. Every person has so many feelings.

This is a very unusual installation, coming out of a window. What has the process of making the work been like?

The majority of the time so far has been sorting everything, connecting all the tubes, and braiding them. I made these panels that have a bunch of holes and I stuck the tubes through them. I didn’t go and look from the outside as I attached them, but looked down. And this is the next part of it, the unknowing. I feel like I need to trust the process and where the movement is going to go from here. 

Do you have an idea in your head of what it will look like when you’re finished? 

I want to see what it looks like as a straight waterfall. It’s that way right now, but that’s not how it will end up. It’s going to be more organically flowing and braided and twisted. I think it needs to reemerge to the tree but I need to play with that idea more. I feel like it’s important to bring the material out into the public space because behind the fence people might not know that they are respirator tubes, but if they are able to touch them, they might realize what they are and connect with the piece on a deeper level.

Susan Musich spent twenty years as an educator at the Museum of Contemporary Art Chicago communicating fresh perspectives to non-specialist audiences. In addition to writing about art, Musich consults for foundations and manages the tour program at EXPO CHICAGO. This interview was created as a part of the 6018North Writer’s Workshop.