In PROOON, Jakobsen sets forth a visual landscape that blurs the line between sculpture and installation. A series of eight bent aluminum columns share an intimate space with colored geometric metal cutouts, establishing a visual lexicon centered on the notions of form and subject, repetition and symmetry, and materiality and transformation. The works are displayed on large sheets of galvanized zinc creating a space-distorting effect suggestive of the built environment. Jakobsen fuels her contextual platform through Escher’s logic of space and proto-minimalist installations, such as El Lissitzky’s utopian Proun Room, 1923. In this recent body of work, Jakobsen seeks to destabilize what is historically named as a Minimalist visual language, opening it up to new interpretations.
