Sebby Wilson Jacobson, Art Critic for the Rochester Times Union
distinguishes Jacquie's work from all the other art work in a regional sculpture Show at The Dawson Gallery when she states: "Germanow uses clay in a purely sculptural way, creating wall-hung compositions out of pillow- and bone-shaped clay forms. The eye "reads" the mystery and meaning behind these ancient forms as if they were a poem."
Ron Netsky, Chair of the Nazereth College Fine Arts Department and
writer for The Rochester Democrat & Chronicle
delves into the intellectual metaphors behind Germanow's work when he describes: "These biomorphic forms, juxtaposed with the realistic legs, arms, feet, and hands, are effective because they conjure up some sort of dream image of a mutation, evocative of everything from primitive creatures to science-fiction nuclear mutations. By paring down to these simple symbols - limbs, real and imaginary - Germanow seems to have discovered a means of expressing universal concerns in a vocabulary all her own."
Judith Reynolds of City Newspaper (Rochester, NY)
describes Germanow's sculpture as "powerful spiraling forms that twist upward, rising out of soft or broken shapes like massive screwdrivers - or giant plants."
Graham Beal, Director of the Joslyn Art Museum in Omaha, Nebraska
"sees a power and mystery radiated by Germanow's work: a phenomenon that repays extended examination"
Oxford Gallery Owner, Jim Hall
The sculptural forms wrought by the skilled hands of Jacquie Germanow acknowledge small debt to their creator. They appear rather to have grown by some inner necessity of the material itself: a “force that through the green fuse drives the flower.” At times, their emergence is explosive. (In her highly successful Spiral Metamorphoses series, a swirling vector appears to have torn through its containing substance.) At other times, the emergence is more an evolution toward perfection of form: the organic fulfilling of an internal logic. On occasion, we witness the very struggle between emergence and containment.
What we observe in Ms. Germanow’s work is not a static object - an artistic fait accompli - but an organic process unfolding before our eyes. It is, of course, a process of articulation. But the direction is from inside out. We experience her art as growth rather than volition.
In many of her works, this process of articulation is both an achieved fact and a represented idea. It is achieved in the progress from rough textures and unmodelled shapes to polished surfaces and refined images. We observe the emergence of represented object from inchoate mass. And to this achievement Ms. Germanow brings a facility in many media, combining more “primitive” materials like wood or stone with the finished surfaces of ceramic or metal.
But as we witness the journey toward perfection of form, so are we often asked to comprehend it symbolically. Many of her works juxtapose objects suggestive of earlier life forms or of earlier cultures with figural forms, commonly hands. Through these juxtapositions, the “evolution” of the art object resonates within a far wider context of meaning: the biological evolution of life forms and the anthropological evolution of societies. Each creative act assumes its place in a natural continuum of growth and metamorphoses. And the culmination of these processes is contained in the image of the hand or the fingers striving to touch, with its unavoidable allusion to the famous image on the Sistine ceiling. It is in this moment of contact that past becomes present, that form receives its highest expression, and that object and observer become one. As Ms. Germanow’s highly tactile surfaces invite our touch, so the internal urge toward form in the material pushes outward to make contact with the observer. At that point of contact, we become fully engaged with both artist and artifact.