An ongoing series of short interviews with artists that we work with or admire called “In Good Company.” Answers are lightly edited for length and clarity.

Location: Chicago, IL

Born: Tucson, AZ

Education: School of the Art Institute of Chicago (MFA in Sculpture), University of Dayton (BA in Philosophy)

Favorite Color: A tie between blue and pink

Hobby: Sailing

As a child, did you know you wanted to be an artist?

When I was in kindergarten, I was hit by a car and spent several months in and out of traction and body casts. For almost a year, I was completely immobile. This all happened before the internet, On Demand television, etc. I had just learned how to read, so finding ways to occupy time was very limited.

This particular time in my life has recently resurfaced in my work as I continue to think about the body, movement, and constraints–both metaphorically and literally. In some cases, the canvas billows out, and in other works it feels like it’s strapped in and the thing holding itself (and everything else) together. All that stuff starts to circle back from the present to the past and back again. I bring this up to say, I remember when I finally got out of the body cast, for the last time, I was interested in movement!

As a kid, I knew plenty of adults who were musicians, writers, and actors, and maybe I wanted to be something like that, but I didn’t know anyone who made their living as a visual artist. It wasn’t something that I thought was possible until I traveled a bit and the world opened up.

Have you had any jobs outside of the art world? If so, how have those jobs informed your work as an artist?

I have had countless jobs, all of which continue to make their way into my work. My husband is a process improvement engineer, helping to illuminate ways of reducing waste and improving work efficiency. For the past 15 years, I have worked with him on some of his projects by assisting with infrastructure, accounting, and helping to prepare for public presentations. We discuss his practice in absolute tandem with discussions about art, particularly about “process” and how something is done.

What is your favorite non-art object in your studio right now? Why do you have it?

I have a resin copy of a rock that my Dad gave to me. He found the rock on the beach and his thumb fit right in it. It made him feel connected to the world in a way. This seems funny now, but it is really sweet too. He had resin copies of the rock made and gave them to people. I feel connected to him when I hold it and try to fit my thumb in it.

What has been a defining moment of your artistic career so far?

I’ve been doing this for a long time so there are many. Grad school at SAIC was my first art school experience, and the first year was difficult, but it helped me understand and talk about the depth of my own work. It provided the groundwork for building a community that, in my opinion, is incredibly important for an artist’s survival.

Being represented by THE MISSION gallery was also a career changing moment that provided a platform to expand on different thoughts and broaden my audience. Participating in the BOLT residency at Chicago Artist Coalition was a further defining moment. Being a part of this community continues to feed my practice and soul.

If you could partner with any company to show your work, what would it be and why?

Partnering with an architectural firm would be fascinating, as it would provide an opportunity to think simultaneously about painting and architecture. I would love to work on a project with these aspects in conversation, without preferencing one over another–considering light, color, the body, gesture, supports, windows, etc.

If you were placing artwork in an office, what three artists would you be most excited to work with?

kg, Mike Cloud, Katharina Grosse

To see more of Jean Alexander Frater’s work, check out her website or Instagram.

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In Good Company: Jean Alexander Frater