"A large cone, constructed of salvaged wooden planks
and placed on its side, could be entered through a small door.
The form and materials invoked the low eaves and claustrophobic
space that Jacobs endured, as well as the provisional dwellings
that homeless women and men build on the street. With a small
hole in the wall that emitted light, the dark interior of
the cone was a camera obscura.
Above this structure a large wheel supported suspended objects
of significance to Jacobs's life. As the overhead objects
slowly rotated, their inverted images were projected on the
inner wall of the dwelling. The conflicting sensations of
the weight of confinement and the poetic movement of the shadowy
images conveyed the almost inexpressible paradoxes of Jacobs's
Barbara Rodriguez relates Driscoll's formal structure to
Jacob's experience: 'Driscoll's impulse to use scattered parts
and a moving image in her model literalizes the conditions
of fragmentation and homelessness...' *
For Jacobs, the loophole was the break in the wall, the fissure
in the system that offered some promise of an embodied participation
in the world."
- Excerpt from "The Proportions of Paradox"
by Patricia C. Phillips, Sculpture Magazine, November 2000
* Autobiographical Inscriptions; Form, Personhood, and American
Women Writers of Color, by Barbara Rodriguez, Oxford Press,1999