Jocelyn is on the hunt for the point of transition between internal and external, real and imagined worlds. Using her own body as a starting point, she explores the inside/outside topography of the female form, looking to folklore, surrealism and supernatural fiction to investigate the identification of women with the earth, the home and the machine.
The materials that she uses – domestic fabrics, beauty products, earth pigments and industrial materials – represent a point of transition for the body, the moment it meets the organic or the manufactured world. This closeness comes with bed sheets, towels, furniture and beauty products, which cleanse us, support us, modify our appearance or take us from conscious to unconscious/dreaming. These are also absorbent materials, and due to their proximity to our bodies, often play into tales surrounding the haunted object, where inanimate objects assume human qualities; from dolls and charms to animated furniture and aircraft parts. In sculptures, Jocelyn combines these signifiers in order to blur the boundaries between the natural world and the manufactured one, resulting in a super-natural hybrid of the two.