jess osserman

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<channel>
	<title>jess osserman</title>
	<link>https://jessossermandesigns.com</link>
	<description>jess osserman</description>
	<pubDate>Fri, 18 Feb 2022 17:16:27 +0000</pubDate>
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	<item>
		<title>home</title>
				
		<link>https://jessossermandesigns.com/home-1</link>

		<pubDate>Thu, 21 May 2020 00:11:37 +0000</pubDate>

		<dc:creator>jess osserman</dc:creator>

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		<description>
	

I craft objects and spaces by hand and with machines.Practical work is driven by need.

Impractical work is driven by questions.
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	</item>
		
		
	<item>
		<title>Running on Cargo</title>
				
		<link>https://jessossermandesigns.com/Running-on-Cargo</link>

		<pubDate>Thu, 21 May 2020 00:11:40 +0000</pubDate>

		<dc:creator>jess osserman</dc:creator>

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		<description>Running on Cargo</description>
		
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	<item>
		<title>work</title>
				
		<link>https://jessossermandesigns.com/work</link>

		<pubDate>Fri, 10 Jul 2020 14:51:53 +0000</pubDate>

		<dc:creator>jess osserman</dc:creator>

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		<description>
	SCULPTURE &#38;amp; ART&#38;nbsp;crafting a queer domestic

old chair re-assembled sink or swimart spasculptures for sensessmall and funny objects
	

	TEXTILES
quarantine rug

digital knittingweaving


	FURNITUREalvaret
moraine
fraternal


table for borge
commissions
	STRUCTURESarchitectural investigationstiny houses15 trees commission
	

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	<item>
		<title>writings</title>
				
		<link>https://jessossermandesigns.com/writings</link>

		<pubDate>Thu, 21 May 2020 14:44:10 +0000</pubDate>

		<dc:creator>jess osserman</dc:creator>

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		<description>
	

Welcome Homo: Crafting a Queer DomesticityMFA Thesis, Fibers (and Architecture). Cranbrook Academy of Art - 2019
“Detroit is a city of hope.” Narrative for Detroit’s Design Center in a Box architectural competition. - 2018
Graduation Speech for College of the Redwoods Fine Woodworking Program - 2015

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	<item>
		<title>MFA thesis</title>
				
		<link>https://jessossermandesigns.com/MFA-thesis</link>

		<pubDate>Wed, 27 May 2020 16:08:24 +0000</pubDate>

		<dc:creator>jess osserman</dc:creator>

		<guid isPermaLink="true">https://jessossermandesigns.com/MFA-thesis</guid>

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</description>
		
	</item>
		
		
	<item>
		<title>Krenov School grad speech</title>
				
		<link>https://jessossermandesigns.com/Krenov-School-grad-speech</link>

		<pubDate>Wed, 27 May 2020 16:55:19 +0000</pubDate>

		<dc:creator>jess osserman</dc:creator>

		<guid isPermaLink="true">https://jessossermandesigns.com/Krenov-School-grad-speech</guid>

		<description>College of the Redwoods Commencement Speech

How can I comment on the unique and beautiful experiences we shared this year, in
this strange town, with its lovely forests and dramatic beaches, its deep roots in the
history of woodworking? Is there some universal metaphor that can do this training
justice? I am not sure. But maybe, going through this program, is a little bit like
falling in love.

Somehow, we learn about College of the Redwoods Fine Woodworking Program.
Maybe from a graduate, or one of Krenov’s books or even on the Internet. Probably
at some point, we interact with a piece of furniture from here. And what we see and
feel is a deep connection between a maker and an object, an intimate relationship,
something special. And that feeling draws us in. We make our way here, maybe after
years of pining, or maybe spontaneously, we just know right then, we have to be
here.

Let me tell you, we have no idea the rollercoaster we are in for.
Those first weeks are fraught with insecurity and questions. I’m too slow, too
careless, too sloppy. Will I ever get this blade sharp? Can I really make a “perfect”
board? Why do I have to build my own tools? What on earth is a Sow’s Ear and why
does it look so much like a cabinet? Is this easy for everyone else? We leave each day
overwhelmed, we fall asleep exhausted, we wake up anxious and excited. We learn

to see with new eyes, we learn to touch with a new sensitivity. It is the longest 6
weeks in our lives, we wonder have we only been here for a day? A week? A month?
Yet, somehow we perform all the tasks we are set, it is a right of passage, a coming of
age. We land those shoulders, we fit those pins and tails, we take perfect shaving
from a perfect board with a handmade plane, we make a silk purse from a sow’s ear.
No matter our actual years, as craftspeople we are all young, naïve and hopelessly
romantic.

We catch a flicker of allure in the wood room. Standing there, some board, so
beautiful, we want it. We beg for it, plead David, “let me have this one, she is so
perfect, I promise to treat her right”. And eventually, maybe begrudgingly, David lets
another one of his precious boards out of the wood room and onto our bench. Oh the
wonder, even the flaws are assets, we love those cracks and knot holes, the story of
a life well lived etched into her surface. The way the grain swoops so elegantly, the
way the sunlight hits the wood creating a whole spectrum of color. We are nervous,
tentative, we scrape a little off here, take a plane stroke there. We make plans, we
chart out our forms, the perfect proportions, whatever it takes to do justice to this
beautiful thing. Finally, when we think we’ve got it figured out, we take our board
on a first date to the machine room. We return with her in pieces, we’re afraid, have
we gone too far? We take few days off, mull things over. We cut joinery and chip
away at her, long hours at our bench building a relationship. We go home at night
worried we’ve messed things up, been too cavalier, rehashing over in our heads
what we would do differently next time. We get advice, asking the more experienced

craftspeople how this works, were so scared of messing it all up! We learn how to
treat the board right, that we need to stay sharp, that when we find a knot hole, we
have to treat that place differently with great care, giving respect to board’s life as a
tree in the ground, its history. We build something together, with many late nights,
many painful surprises and plenty of good ones too. Some days we cannot do a thing
right, other days whoosh by in a whirlwind of euphoria, plane shavings flying with
abandon. We have to be brave, make bold moves, embark on terrifying glue ups, fit
drawers and hang doors. We decorate our beloved with pulls and hinges. We dress
up her in the finest shellac.

Finally we are complete, we take a step back and look at what we have made with
this gorgeous piece of wood. Maybe we’re still in awe of her, maybe we had a more
tumultuous relationship, fraught with paralysis, tear out and patch jobs. Ultimately
what we made together was small, simple, solid and sweet. In it, was contained all
our first endeavors, our successes and failures, our triumphs and despair. With that
piece, we got to know ourselves, we got to see what was important to us, and what
made us tick, what we liked to do and what drove us mad with frustration. We
confronted our childhoods, our deepest insecurities, and our proudest moments. We
were shown how we act in a time of crisis, how we mourn a loss, how we rise to a
challenge, how we persevere.
Eventually, that relationship has to end. We have to move on, both of us. We might
cling for a while, dragging out the last weeks of synergy, making sure everything is
right between us before we part ways. We are complete. We have learned what we

needed to from each other, and now we have to move on, to have more complicated
relationships. Ones that will allow us more freedom of expression. We will delve
into the darker side of substrates; we will become manipulative enough to throw
our beloveds into a steam bath, forcing them to bend into unthinkable shapes. We
will cut and glue up wretched miters, build unconventional jigs, template route
curves and loose all reference. But that first love will always guide us, reminding us
that we do not need to break all the rules to make something meaningful.

Krenov wrote,
“When we see a fine piece of cabinet-making, we should look closely, and think
about what it means, and remember that it is not just pieces of wood put neatly
together, but a measurable part of an honest craftsman’s life.”

These small and beautiful things we’ve made here together are just that. Take a
moment to visit our work at the highlight gallery. And bear witness to all those
honest moments hung up on the walls and displayed across the floor. Those are our
hearts and souls on display.

Of course, none of this would be possible without our instructors. Laura, David,
Budlong, Greg and Ejler, We owe you more gratitude than we can ever express.
You claim that we do all the hard work, and yet year after year we come through
those doors having never cut a dovetail, used a handplane or wielded a scraper. And
year after year we leave as craftspeople. You are the guiding force, you are the ones

standing over us, sharpening our eyes, our hands, our minds. And you will come
with us everywhere we go. Every time I cut dovetails, I will remember Budlong
telling me to cut as close as I dare, to sneak up on perfection. When I get ready for a
glue-up, Greg will be there reminding me to mark everything, as my IQ will drop as
soon as the glue leaves the bottle. When I am frustrated and wanting to quit for the
day, Laura will ask me in what way tomorrow will be different from today. (and I
will tell her that I’ll be wearing my lucky pants). Ejler will jump into my mind when
the shellac is applied as a true Californian, until it feels just right. And David will
always be there in the end, touching the edges of my cabinets, pretending to cut his
fingers on the sharp cornerss. The word instructor does not even begin to describe
the job you all do, neither does chief bottle washer. You are mentors, collaborators,
therapists, angels, family. This is not your average cheap trade program at a
community college. And that is because of you. You are what makes this place what
it is.

I would remiss if I just thanked our instructors. For behind each of these
craftspeople, is a network of dedicated partners, children, parents and friends who
supported them in this tumultuous year of love and heartbreak. It is no small job
being there, day after day, as we return home, our hands cut up and our minds
spinning, fretting over some hairline gap, puzzling some nuanced design move. You
are the unsung heroes of this story, thank you from all of us for your patience and
your commitment and your delicious cooking.

Class of 2015, now we go off on our various paths, to the far corners of the continent
and across the world. Just as we had to love and leave our first projects, so do we
have to love and leave this magical place. But we are changed inside, whether we go
off to wield a handplane, or a nail gun, a laptop or a zither we will do it with a new
level of self-awareness, with a new sense of possibility. I am in awe of how much we
leave this place with, that deep inside of us was always the potential to strive for
perfection, we just didn't know it was there before. We will bring that into our next
endeavors, whatever they may be.

As Krenov wrote: “You stand there with your skill, patience, and something even
more unique- and you feel alone. It is a critical point in your life; you are afraid, yet
you want to go ahead and do it. ... Stick to what you believe in; go into the work and
listen. Forget about competition. Find a pace and a balance that make sense out of
long hours.”

You all are the finest group of craftspeople, and likely the finest people I will ever
share a workspace with. It was a honor and a privilege to work alongside you this
year. Thank you.</description>
		
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	<item>
		<title>DCIAB</title>
				
		<link>https://jessossermandesigns.com/DCIAB</link>

		<pubDate>Thu, 21 May 2020 14:52:00 +0000</pubDate>

		<dc:creator>jess osserman</dc:creator>

		<guid isPermaLink="true">https://jessossermandesigns.com/DCIAB</guid>

		<description>
Narrative for Detroit’s Design Center in a Box architectural competition 
 On and Off Architecture Team:  Paige Donnell, Seonheee Kim, Jess Osserman,&#38;nbsp;


Jiaxiang Shen &#38;amp; Mark Wise


“Detroit is a city of Hope rather than a city of Despair. The thousands of vacant lots and abandoned houses provide not only the space to begin anew but also the incentive to create innovative ways of making our living-ways that nurture our productive, cooperative, and caring selves.” - Grace Lee Boggs

Detroit is a city not of one story, but multitudes. We are fed a master narrative about blight, economics, industry, and despair. But, when we scratch the surface of these perspectives, we encounter thriving communities, urban farms, and resilience. Detroit is a city bubbling with creative, powerful, engaged people, with stories of hope. We want to build a soundboard for the existing and deeply rooted community of Detroit. It is these narratives we hope to engage in our architectural intervention in a Detroit storefront. 

We propose creating a new perspective, to force deeper views into a familiar typological space, and hope to transform the experience of walking down a familiar street. Once, the storefront was boarded up, it was intended to keep out. The facade must adapt to let people in but furthermore to announce its commitment to letting in. It must do more than just remove bars and boards from windows, it must invite.

The focal point of the new perspective at the back of the space will be a changing community art platform. The wall will rotate to provide both a canvas for projected works, and a mural commissioned by a local artist. This deep space will be the bright spot that draws in passersby. The lighting treatment will create a rhythmic pattern on the walls and ceiling that accentuates the morphing shape of the space, while visually altering the perspective of onlookers to invoke a sense of depth and intrigue. Along the angled side walls, we will build a series of doors which will unfold to create multiple spatial configurations for display, working, collaboration, meeting and gathering. The ambient lighting treatment applied will offer illumination modes that are versatile and react to the changing spatial configurations by adapting the visual experience. Some walls will unfold into tables, others will open into display walls for exhibits, others will function as storage for additional seating and display furniture. The design will prioritize ease of rearrangement and adaptability for users, making transitions from one program to another easy to implement. 

Detroit’s industrial and economic history is too often fetishized and cannibalized. Rather than reuse an industrial waste stream, we choose to look forward to a sustainable innovative future. The walls will be built of locally harvested and milled timber from trees taken down in and around Detroit. They will subtly connect the design to place, without engaging nostalgia or overlaying morals. We will utilize CNC technology to accurately fabricate pieces for furniture that can be reconfigured easily by users. Craft of execution is as important as concept, and we plan to utilize our strengths as builders and crafts people to create a space that is truly of service to those using it.

The programming and users of the space will ultimately be what makes this a place of and for Detroit, what makes it embody “Detroitness”. As transplants to the area, we can not provide an authentic narrative about Detroit, but we can create a soundboard for those narratives to be heard.We believe that Detroit is defined and redefined by its people, and we see this project as a space for the voices of Detroit, for alternative narratives, and productive conversations. Our proposal is premised on its deep functionality, its adaptability to different programs, and it’s commitment to let Detroit speak for itself. 
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		<title>CV</title>
				
		<link>https://jessossermandesigns.com/CV</link>

		<pubDate>Wed, 27 May 2020 13:58:59 +0000</pubDate>

		<dc:creator>jess osserman</dc:creator>

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C.V.


	EDUCATION

2019&#38;nbsp; &#38;nbsp; Cranbrook Academy of Art • MFA Fibers 20192015&#38;nbsp; &#38;nbsp; College of the Redwoods • fine woodworking • two year certificate2014&#38;nbsp; &#38;nbsp; Capellagården • Vickleby, Sweden • student exchange, woodworking and textiles2006&#38;nbsp; &#38;nbsp; Smith College • Bachelor of Arts with high honors • Major: architecture


AWARDS


2021&#38;nbsp; &#38;nbsp;Pratt Faculty Development Grant - Digital Knitting for Interdisciplinary Collaboration2019&#38;nbsp; &#38;nbsp; Cranbrook Academy of Art Director’s Award2018&#38;nbsp; &#38;nbsp; Larson Award for Rävemåla Residency2018&#38;nbsp; &#38;nbsp; Stewart Thompson Haystack Fellowship for “Push, Pull, Play” workshop with Katie Hudnall2015&#38;nbsp; &#38;nbsp; AWFS Fresh Wood Competition - 2nd place in Chairs2014&#38;nbsp; &#38;nbsp; Architectural Woodworking Institute Education Foundation Scholarship2014&#38;nbsp; &#38;nbsp; Susan Detjens Memorial Foundation Scholarship


GROUP EXHIBITIONS

2022&#38;nbsp; &#38;nbsp; Center for Art in Wood, ITE Residency Show, Philadelphia, PA2019&#38;nbsp; &#38;nbsp; Bridging the Gap: Contemporary Craft Practices, Arrowmont Gallery, Gatlinburg, TN2019&#38;nbsp; &#38;nbsp; Material Object Belief, Forum Gallery, Bloomfield Hills, MI2019&#38;nbsp; &#38;nbsp; Thesis Show, Cranbrook Academy of Art, Bloomfield Hills, MI2019&#38;nbsp; &#38;nbsp; Kindred Neighbors: An Inhabitation of Cranbrook House, Bloomfield Hills, MI2018&#38;nbsp; &#38;nbsp; Summer Show, Forum Gallery, Bloomfield Hills, MI2018&#38;nbsp; &#38;nbsp; Chair Show, 1301 Broadway, Detroit, MI2016&#38;nbsp; &#38;nbsp; Appalachian State University 9th Annual Chair Competition - Finalist2015&#38;nbsp; &#38;nbsp; handmade/mindmade exhibition, San Francisco, CA2015&#38;nbsp; &#38;nbsp; Highlights gallery exhibition, Mendocino, CA2014&#38;nbsp; &#38;nbsp; handmade/mindmade exhibition, San Francisco, CA2014&#38;nbsp; &#38;nbsp; Highlights gallery exhibition, Mendocino, CA


RESIDENCIES &#38;amp; COMPETITIONS


2022&#38;nbsp; &#38;nbsp; Windgate ITE • Philadelphia, PAFuture residency at the Center for Art in Wood and University of the Arts.

2019&#38;nbsp; &#38;nbsp; Design Center in a Box • Detroit, MichiganAs part of a small team of designers, was selected for the transformation of a vacant storefront to be used by the Detroit City Planning for community engagement, exhibitions and pop-up retail. Designed and pre-fabricated all architectural, lighting and furniture pieces in-house using CNC machine and woodshop. Installation slated for fall 2020.

2018&#38;nbsp; &#38;nbsp; Rävemåla Artist Residency • Ålem, SwedenWith collaborator Christi Byrd, created site specific sculptures to reintegrate human senses with the rural landscape through heightening/altering the physical senses.

2018&#38;nbsp; &#38;nbsp; Haystack Open Studios Residency • Deer Isle, MaineConducted investigations into merging digital and hand crafting techniques, explored utilizing textiles processes on wood.

2016&#38;nbsp; &#38;nbsp; Make your Future residency at Staten Island Maker Space • Staten Island, NYPrototyped furniture pieces and produced commissioned work, taught woodworking classes.


WORK


current&#38;nbsp; &#38;nbsp; Massachusetts Institute of Technology&#38;nbsp;• Maker Technical Specialist
 Management of two makerspaces, coordinates 60 student mentors, material and tool maintenance and creates training curriculum for workshops on fabrication techniques including, laser cutting and 3d printing, woodworking, sewing, weaving, and resin casting. Runs MakerLodge - a first year training program designed to introduce students to makerspace tools and technologies. Teaches Intro to Making, a 6 credit course for MBA students to gain a hands-on understanding of the product design process, from ideation to physical prototyping. 


2019-2021&#38;nbsp; &#38;nbsp; Pratt Institute School of Design • Visiting Instructor Industrial DesignTaught project based fabrication technique to ID students. Topics include: woodshop machine use and wood milling, joinery, plastic bending, welding and vacuum forming, resin casting, manual mill operation, wood lathe, and hand carving.&#38;nbsp;2019-2021&#38;nbsp; &#38;nbsp; Pratt Institute School of Design • 
Digital Fabrication Lab Manager

Managed digital fabrication labs including: hiring, training and overseeing 20-30 work study students and graduate assistants, ensuring safe and successful operation of four 3-axis CNC 
machines, several 3D Prusa printers, six Universal laser cutters and three Shima Seiki digital knitting machines as well as traditional wood and metal shop machines. Maintaining, upgrading 
and training students, staff and faculty on use of digital and analog fabrication machines and relevant software. Coordinating service technicians, electrical and maintenance contracts with internal facilities personnel and external contractors. Organizing a fully digital submission 
system for CNC, Laser and Digital Knitting projects where students, both on campus and 
remote could submit projects for production.
2017-2019&#38;nbsp; &#38;nbsp; Cranbrook Academy of Art • Shop technician and CNC operatorAssisted students with fabrication techniques, both analog and digital. Piloted and organized student taught fabrication workshop series. Taught introductory woodworking and joinery workshops. 

2017-2019&#38;nbsp; &#38;nbsp; Cranbrook Museum of Art • Exhibitor assistantAssisted lead exhibitionist in museum show installation and deinstallation. Built and demolished gallery walls, handled artwork and fabricated fixtures for exhibitions. 

2010-ongoing&#38;nbsp; &#38;nbsp; Jess Osserman Designs One woman design/build practice producing custom wooden furniture, public art installations, outdoor seating and tiny homes. 

2016-2017&#38;nbsp; &#38;nbsp; Makeville • Shop Monitor &#38;amp; Woodworking InstructorTaught courses: Intro to woodworking, Woodworking for women, splined mitered boxes and hand-cut dovetails. Maintained shop and machine equipment, organizing tools and assuring student/member safety during regular shop hours. 

2009-2012, 2016&#38;nbsp; &#38;nbsp; Hester Street Collaborative • Program Associate and Teaching ArtistImagined and developed curriculum, designed and executed public art, urban gardening and design/build projects. Education projects resulted from a collaborative process between volunteers, staff, myself and 20 - 100 elementary or middle school students. Assessed design education projects based on school and organization goals, educational links, funding requirements, time and cost metrics. Projects include: creating and installing solar powered lanterns in a public park to celebrate the lunar new year, painting a 90 foot long mural depicting Chinatown, creating 400 mosaics to line planters in a public park, silk-screening plant identification signs, creating a hand felted, KoolAid dyed textile installation representing native trees, constructing cedar bird houses for native birds with hand tools and creating stop motion animated films depicting the life cycle of edible plants.

2011-2012&#38;nbsp; &#38;nbsp; Yestermorrow Design/Build School • Design/Build InternCoordinated with instructors, prepared workshops for rotating courses, sourced materials. Created traveling exhibition. Organized staff/intern/student community building events. Completed courses: Willow ribbed canoe, treehouse design/build, timberframing, reclaimed furniture design/build, green ladder-back chairs, fundamentals of design, math for builders, box making, and concrete countertops. 

2011&#38;nbsp; &#38;nbsp; Center for Urban Pedagogy - $ Breakdown • Assistant Teaching Artist Collaborating with artist Douglas Paulson and 12 high school students from South Brooklyn, created stop motion films exploring money, banks and the perils of being unbanked. 


2006-2008&#38;nbsp; &#38;nbsp; Mathews Nielsen Landscape Architects • Junior Designer Drafted AutoCAD documents, rendered sections and plans for public park projects, greenroofs and institutional clients. Conducted research, designed and produced diagrams for sustainability guidelines for New York City Department of Design and Construction. Built site models, presentation boards and created RFP packages. 

2006&#38;nbsp; &#38;nbsp; studio a/b, art sites&#38;nbsp; •&#38;nbsp; InternRenovated building for art sites, an art gallery and architecture office for studio a/b (Hideaki Ariizumi and Glynis Berry, principals). Constructed stairs, deck and building facade, installed drop roof ceiling, painted interior walls, designed signage and installed exhibitions.


GUEST CRITIQUES2021&#38;nbsp; &#38;nbsp; Pratt Institute - Interior Design.&#38;nbsp; Sites of Learning: The New Public High School Library

Professor Keenah Suh
2021&#38;nbsp; &#38;nbsp; Pratt Institute - Industrial Design - CNC Furniture Prototypes
Professor Karol Murlak
2020&#38;nbsp; &#38;nbsp; University of the Arts - Philadelphia - Product Design
Program Director Hsin C Wang
2019&#38;nbsp; &#38;nbsp; Pratt Institute - Interior Design - Junior Studio
Professor Keenah Suh

FUN

2010&#38;nbsp; &#38;nbsp; farmcycle: a journey across Europe

Co-authored, researched, designed and produced a guidebook and travel journal on bicycle touring and farming in Europe. Along with two friends, traveled from Spain to Sweden by bicycle, visiting and working on farms while documenting our journey. The project was funded through kickstarter where we pre-sold 75 copies of our book, as well as printed t-shirts, home-made cheeses and dinner parties. A stop motion video of ourselves riding our bikes through an ever changing landscape created entirely of common vegetables introduced the project and inspired the journey. 


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		<title>contact</title>
				
		<link>https://jessossermandesigns.com/contact</link>

		<pubDate>Wed, 27 May 2020 16:03:40 +0000</pubDate>

		<dc:creator>jess osserman</dc:creator>

		<guid isPermaLink="true">https://jessossermandesigns.com/contact</guid>

		<description>contact:jess osserman
brooklyn, ny
jessosserman (at) gmail (dot) com
</description>
		
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		<title>old chair re-assembled through weaving</title>
				
		<link>https://jessossermandesigns.com/old-chair-re-assembled-through-weaving</link>

		<pubDate>Fri, 18 Feb 2022 17:16:27 +0000</pubDate>

		<dc:creator>jess osserman</dc:creator>

		<guid isPermaLink="true">https://jessossermandesigns.com/old-chair-re-assembled-through-weaving</guid>

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old chair re-assembled through weaving
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