HOUSTON — Artist Jillian Conrad is redefining the essence of drawing with her latest exhibition, “What drawing can be: four responses,” now on display at the Menil Drawing Institute until August 10, 2025. This installation features five new works that challenge conventional definitions of drawing and sculpture, showcasing Conrad’s unique perspective on the connections between visual art and language.
Conrad is primarily known for her sculptures, but her exploration of drawing’s inherent energy permeates her work. One of the standout pieces, titled “Cetus,” partially levitates within the exhibition space. This sculpture, comprised of colored glass orbs suspended on thin metal chains, references the constellation of the same name from Greek mythology. The chains, some tethered to a chunk of asphalt on the ground, while others drape and collapse in expressive shapes, serve as navigational elements within the gallery.
The installation is further enriched by site-specific works from prominent artists Teresita Fernández, Tony Lewis, and Constantin Luser. Each piece contributes to a broader dialogue about the nature of drawing and its capacity to convey meaning across time and space.
Exploring Connections Through Materiality
Another significant work, “Letter,” is a string net suspended from the ceiling, embedded with illegible pewter letters. These letters represent a heartfelt message from a woman to her husband in 1758, one of 104 lost letters related to the Seven Years’ War. The original letters, precious artifacts of their time, embody the tangible and emotional aspects of communication, much like drawing itself.
Conrad emphasizes a “reciprocity with the world” through her art, highlighting how lost items can become significant again by being recontextualized. As viewers engage with “Letter,” they are invited to reflect on the interplay between visibility and absence, as well as the connections that transcend time.
In “Fork,” which features a rose branch and a small piece of brass, Conrad introduces elements of absurdity and humor. This piece encourages viewers to reconsider their perceptions and the psychological boundaries between what is seen and what is imagined. As Conrad articulated during her artist talk, the gap between the branch and the brass evokes the hidden section of a branch held in a bird’s beak, an element that, while unseen, remains undeniably present.
Challenging Artistic Boundaries
Conrad’s ability to blend the tangible with the intangible creates an engaging experience for gallery visitors. The exhibition ultimately invites an exploration of how drawing can manifest in various forms, pushing the boundaries of artistic expression.
“Cetus” stands as both a central piece and a thematic anchor for the exhibition, with its celestial inspiration offering viewers a point of orientation amid the diverse works. As visitors navigate the space, they encounter not only the physical installations but also the conceptual threads that link past and present.
The exhibition, curated by Edouard Kopp, John R. Eckel, Jr., and Kelly Montana, highlights the evolving nature of drawing and its capacity to engage audiences in new and thought-provoking ways.
As the art world continues to evolve, Jillian Conrad’s work serves as a reminder of the power of creativity to bridge gaps between different dimensions of experience, making art an ever-relevant and dynamic force.