Category Archives: Seen About

This category features on and off campus works. Student artwork seen in the hallways, foyer, and other spaces of the FCCS building and around campus. Student works that are site-specific or in local galleries.

Grounding, In Touch / Inland Waters II

MFA Thesis Exhibition, Grounding, In Touch / Inland Waters II by Brittany Reitzel and Sam Neal

Brittany Reitzel is currently an MFA candidate at UBCO whose primary interests are grounding practices, forest bathing and site-specific expanded painting practices. She graduated from Brock University in 2016 with a BFA (Honours). In her current practice she works at the intersection of painting, ceramics and performance. She positions herself as a settler and long-term visitor on unceded Syilx territory, where she is interested in the boundaries of our human bodies in relation to the land. Her work posits a tactile unlearning of settler values and attitudes when working with and on the land.

Grounding, In Touch is a body of work that documents my process of grounding myself through creating site-specific artwork on the unceded traditional lands of the Syilx nation. As a settler I work directly on and with the land to open my body to ‘touch’ and be ‘touched’ by the land and provide a direct translation of the sensations I feel. I create works bare-foot and trade my paint brushes for my hands and other body parts, relating to the mindfulness theory of ‘grounding’, whereby is a process which our bodies “electrically reconnect to the earth when our skin is in direct contact with it”.
Like the permeable boundary of body, the canvas and clay are places of ‘encounter and transformation’. Through clay I am able to explore the softness of material, the absence and presence of the body and the movement from matter to object. The growth and decay of nature and the body’s natural cycles are my inspiration. Using my hands as the primary tool to create, the work reveals the material’s relations to my body and its movements. The hand is exaggerated in my work leaving pinches, mini recesses and fingerprints. With my hand emphasized, connections are made to the process and the resulting final form reveals its own creation.
The work talks to my role in that creation and bears vulnerability to the presence of my own body. It comments on the interface of myself and other natural forms. Prying open raw material as grounds to discover the interwoven relationship between my body and other natural phenomena. Like a flower in bloom the sculptures reveal the gradual opening up between myself, the material and the land. Recording the stages of growth and transformation as I become further attuned to the Okanagan valley.

Sam Neal is currently studying for his MFA in Visual Arts at the University of British Columbia Okanagan campus. His most recent work utilizes cyanotype, a photographic process, to create a collaboration between the artist and the environment. He accepted the Graduate Scholarship Award in 2020 and has been a teaching assistant in photography since 2019. He is also a research assistant for Living with Wildfire, a project funded by the New Frontiers in Research Fund. Neal has exhibited most recently at The Alternator Centre for Contemporary Art. He also exhibited for the Spring Festival of the Arts 2021, which featured a video installation at the Rotary Centre for the Arts.

Inland Waters II is an exploration of time, place and process. Using cyanotype chemicals, a photographic process discovered in 1842, I brush large pieces of paper that become sensitive to UV light once dry. Each of the works is created in collaboration with a body of water. I have been drawn to how water can appear to change color when light moves across it, how we can see water’s surface and its depths and how it reflects and refracts to create caustics. I carry the sensitized paper to the water and let the water impact or flow over it. The paper is then left to expose and dry at the site in which it is created. The connection between the overlapping of water, light and my engagement with the process explores a performative relationship with nature that can be visualized as a direct mapping of a place.
Inland Waters II features detailed prints that incorporate digital and screen printmaking, alongside the original cyanotypes. The prints depict the reaction between chemicals, water and light on the paper’s surface during the initial contact with water and after it oxidizes in the following days.
Each body of water acts as a potential threat to the land around it through processes such as shoreline erosion, flooding and other forms of environmental degradation. The cyanotypes in this space are left unfixed, and they retain sediment that is carried along with these bodies of water. They are impermanent objects that are susceptible to growth and decay.
Fixing a cyanotype would require me to thoroughly wash the material and let it dry to its final state. By leaving them unfixed, sediment, algae, and other deposits that reacted with the chemicals remain on the paper’s fibre. The sediment and any other organic material can grow, fall off or stay in place. Ultimately, each piece is a living object within an interior space, reflecting its original environment.

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Seen | Unseen by Jacen Dennis

Seen|Unseen

by Jacen Dennis

Artist Statement: Seen|Unseen

Jacen Dennis’ digitally animated and projected artwork links the creative process of animating to creating a meaningful relationship between his gender transition to his sister’s death, of connecting a new body to the past, and a past body to the future. He positions himself as a transmasculine artist who started transitioning shortly before his sister died of an unexpected overdose in late 2018. His work explores the fact that he did not have the opportunity to recontextualize his relationship with his sister and how this impacts the parallel positive experiences in transitioning. Seen|Unseen is the final exhibition for his Masters of Fine Arts thesis at UBC Okanagan.

His artwork, it both nourishes and consumes expresses the joy of authenticity and gender euphoria in gender transition; what is seen on the surface of the body. At the same time, what is unseen, under the skin, touches on gender dysphoria.

The artwork seismic reversal represents gender transition and the sudden familial loss both existing together and existing separate. When viewing seismic reversal as a metaphor, the implied positions of the bodies at the graveside (standing over and buried under) are in opposition. Whether or not the earth is reversed to allow the one buried to stand once again, the implied bodies will never stand at the same time, one will always be horizontal in death.

The works the mark left on the carpet and her grass that grew thereafter contend directly with the sudden loss itself. Making the mark is the last action his sister took, but the animation imbues that horrific symbol with continued life. Her graveside in her grass that grew thereafter allows for exploration of the conflict between what is seen and what is unseen, under the surface.

The imagery for the artworks was derived through a process of active imagination, a process within analytical psychology, and constructed within frameworks of expressive art therapy. These methods have allowed unconscious thoughts to be surfaced through the artwork and facilitate healing through the creation thereof. Jacen’s animations are designed as slow and ambient works, ones that move through time and experience change gradually, reflecting his physical transition and process of grieving.

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Light Up Kelowna – UBCO Graduate student works exhibit

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As part of Light Up Kelowna’s art-dedicated urban screen projection in the Rotary Centre for the Arts window, UBCO graduate students are showcasing their work in this fabulous venue.

The exhibit was developed in the context of Graduate Studio in Visual Arts course that involves the critical analysis and production of independent artwork in various disciplines.

Scott Lebaron Moore’s sisymbrium altissimum, 2021, is a three channel video created on the unceded territories of the Syilx/Secwépemc nations in the North Okanagan. It is a pairing of re-discovered home video with found historical text to contextualize the complexity of being in space and place. Scott is an interdisciplinary artist and Master of Fine Arts candidate at UBCO.

Kaytlyn Barkved’s thesis show Neuroqueer Imaging features select digital drawings from her exploration of the unique emotional and sensory perceptions that Autists experience. Kaytlyn is is a queer disabled digital artist and Master of Arts candidate in the Digital Arts and Humanities theme of the Interdisciplinary Graduate Studies program at UBCO.

Sam Neal’s Inland Waters, 2021, captures the exploration of time, place and process. Sam collaborates with water bodies in the Okanagan using an early photographic process, cyanotype; a photographic process that utilizes UV light to create cyan-blue prints. He is a multi-disciplinary photographer, artist and Master of Fine Arts candidate at UBCO.

Rylan Broadbent’s #FAKENEWS examines how a recognizable symbol can be transformed across virtual and physical spaces in an attempt to destabilize and subvert the body of meaning. As a multidisciplinary artist and Masters of Fine Arts candidate Rylan examines the nature of symbols and meaning through a physical language of materials and gestures.

Jacen Dennis’ triptych Continuous Breath explores the concepts of gender transition and familial loss through slow looping animation. The imagery is derived from the recent loss of his sister juxtaposed with his own body, and the joy in its transformation. Jacen is a transgender digital media artist and Masters of Fine Arts candidate at UBC Okanagan.

Huiyu Chen’s the Container, 2020, is exploration and examination of self within the transpersonal bodyshell. The series examines the relations of the self to the world to convey how the body can contain an infinity within it. Huiyu is an interdisciplinary artist and Masters of Fine Arts candidate at UBCO.

Natasha Harvey’s mixed media paintings, Okanagan Lake and Kalamalka Lake, are abstracted landscapes and bodies of water of the unceded Syilx Territory. Natasha’s Masters of Fine Arts thesis art work evokes an emotional connection to the beauty of the Okanagan Valley through poetic juxtaposition and layered metaphor.

Brittany Reitzel’s X, is a land based, site specific performance piece created on unceded Syilx territory near Kalamalka Lake. It is a documentation of reattuning the settler body to the land through the intermediary of clay. As a Master of Fine Arts candidate at UBCO, Brittany works in an expanded field of painting and sculpture.

Yujie Gao‘s media artwork Individuals is about the interdependency between individuals and the constantly chaotic universe. The work is a collaboration with electronic music duo Frankfurt Helmet. With sharing experience of living in Wuhan, China for many years between the collaborators, the work was created in 2020, shortly before COVID 19 lockdown was lifted in Wuhan. The work is dedicated to every individual who’s rights and freedoms were infringed during this period. Yujie is a Ph.D. student in the Digital Arts and Humanities theme of the Interdisciplinary Graduate Studies program at UBCO.

Light Up Kelowna is made possible with a partnership between FCCS, the Arts Council of the Central Okanagan and the Rotary Centre for the Arts.

Relief, Push, Woe (RYB) by Connor Charlesworth

Relief, Push, Woe (RYB) is a site specific assemblage of various materials including paintings, a wall drawing, astroturf, recycled cutouts of paintings, and text. The phenomenological nature of this work relies on language as a point of entry. During the Covid-19 isolation periods I kept a log of words to describe how I felt during this time. This associative word play was used as a jumping off for constructing digital collages which serve as the reference for the three paintings. I wanted to keep them urgent, focused, and shallow in their sense of depth. Viewers are denied access beyond a flat plane of colour. The paintings sit on top of a hand drawn graphite and ink wall treatment. An image suggestive of broken glass is both a nod to the architecture of the window space, and a gesture of violence drawn from recent images of civil unrest. On the floor in front of the wall is a scattering of various things; painted cutouts of flowers, a smiley face, a note from a recent sketchbook, and woven flowers bought as souvenirs from Mexico. They sit on top of an oval piece of artificial turf. For me, these objects and motifs communicate a kind of empathy and longing for a more effervescent time.

Connor is a BFA graduate from UBC Okanagan campus who completed his MFA at the University of Victoria in 2018.

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Inland Waters – Sam Neal

Inland Waters is an exploration of time, place and process. I grew up in an urban city in Northern England. Wandering, getting lost, and seeing beauty in the banal was where I found my escape from the congested everyday life. Since coming to the Okanagan in 2019, I have found more of a connection to the ground and what is immediately before me rather than longing to be in the distance.

Using cyanotype chemicals, a photographic process discovered in 1842, I brush large pieces of paper that become sensitive to UV light once dry. Each of the works is created in collaboration with a body of water. I have been drawn to how water can appear to change color when light moves across it, how we can see water’s surface and its depths and how it reflects and refracts to create caustics. I carry the sensitized paper to the water and let the water impact or flow over it. The piece is then left to be exposed and dry at the site it is created in. The connection between the overlapping of water, light and my engagement with the process explores a performative relationship with nature that can be visualized as a direct mapping of a place.

The collaborative nature of the cyanotype process involving myself and the body of water embraces the unknown possibility of the work’s outcome; this collaborative process with nature cannot be fully controlled. I decide where and when to place the sensitized paper into the water and how long I leave it to expose. How many times the waves wash over the paper is my decision. All of these become part of a scientific and calculative response to the making of the work. Nature, however, decides the force of the impact with the paper and how it affects it. Some of the pieces reflect a sense of calmness, and some reflect disruption. Different weather affects the process and the very nature of the environment is the ultimate decision-maker in how the process carries itself into the space where it will live.

Inland Waters features detailed, digital photographs alongside the original cyanotypes. The photographs depict the reaction between chemicals, water and light on the paper’s surface during the initial contact with water and after it oxidizes in the following days. Fractured lines reflect the braiding rivers and bodies of water, appearing as if they are a topographical map within itself.

Each body of water acts as a potential threat to the land around it through processes such as shoreline erosion, flooding and other forms of environmental degradation. The cyanotypes in this space are left unfixed, and they retain sediment that is carried along with these bodies of water. They are impermanent objects that are susceptible to growth and decay.

Fixing a cyanotype would require me to thoroughly wash the material and let it dry to its final state. By leaving them unfixed, sediment, algae, and other deposits that reacted with the chemicals remain on the paper’s fibre. The sediment and any other organic material can grow, fall off or stay in place. Ultimately, each piece is a living object within an interior space, reflecting its original environment.

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Lip Sync performances from THTR 101

For this performance class assignment students were asked to choose a recording of someone that they admire, saying something they agree with and make a lipsync video performing this person’s text.

Students were asked to learn the movements, dress the part.

This is a study in imitation.

Check out the highlight reel:

and this student’s work:

Creative Work – an Arts Council of the Central Okanagan exhibition of UBCO faculty members

The Arts Council of the Central Okanagan is delighted to present UBCO faculty members, Katherine Pickering, Briar Craig, Patrick Lundeen, and Conner Charlesworth.

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Under The Skin – a Laundry Room Collective pop up exhibition at the Lake Country Gallery

The Laundry Room Collective Presents a pop-up exhibition celebrating queer artists of the Okanagan.

Many of the artists are UBC Okanagan students and alumni.

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FIFTEEN

FIFTEEN features the works of 15 UBC Okanagan alumni from both the Bachelor of Fine Arts and Masters of Fine Arts programs, in celebration of the campus’ 15-year anniversary.

These artists are featured in a catalogue, produced in partnership by alumniUBC and the Faculty of Creative and Critical Studies, as well as part of an exhibition at the Kelowna Art Gallery. This project is part of the events happening for Homecoming 2020 at UBC Okanagan.

Artists included in FIFTEEN:

Moozhan Ahmadzadegan
Brit Bachmann
Scott Bertram
Arden Boehm
Sarah Burwash
Connor Charlesworth
Jon Corbett
Carin Covin
Jorden & David Doody
AJ Jaeger
Christian Nicolay
Ed Spence
Pamela Turner
Tania Willard

FIFTEEN will be on exhibition at the Kelowna Art Gallery in The Front Project Space from September 19 to November 15, 2020. UBC Okanagan alumni will receive complimentary admission at the Kelowna Art Gallery during Homecoming weekend.

The exhibition is co-curated by Briar Craig, Professor, Visual Arts, and Katherine Pickering, Lecturer, Visual Arts.

Moozhan Ahmadzadegan
BFA 2018

Where Are You From? شما مال کجا هستی؟(
(2019)
Cotton sheet, ink, spray paint
Dimensions variable

Where Are You From? attempts to navigate the complex intersections of ethnicity, culture, and nationality. This work questions the complicated implications of seemingly innocent questions, such as “where are you from?” when asked by strangers. This work is influenced by the ritual of this conversation; strangers will often ask me where I am from, noticing that I don’t look white, or that my name sounds very “ethnic”. I respond, as a second generation Canadian, that I am from Canada. The follow up question is almost always the same: “where are you really from?”

Brit Bachmann
BFA 2013

(The tall peach vase)
A visual arts program that doesn’t have a pottery studio isn’t worth the tuition (2020)
Clay, glaze
13 x 5.5 inches

(The shorter black and red vase)
Aggressively interrogate Eurocentrism in visual arts education (2020)
Clay, glaze
7.5 x 5 inches

There are seven years between my grad exhibition drawings and these clay vessels. While my social practice has been a frenetic transition through writing, publishing, radio and non-profit arts administration, my material practice has been steady in its stillness. From the repetition of my ink and vinyl animations, to inertia play on the potter’s wheel, I seek out quiet solutions for documenting movement in time. A drawing is as truthful as a photograph, and a pot is as truthful as a stone. My vessels are not usually titled, but those who know my work know that I never pass up an opportunity for institutional critique, as was my training at UBC-O.

Scott Bertram
BFA 2007

Untitled (19-15) (2019)
Acrylic on Canvas
63 x 60 inches

I strive to create paintings that embrace uncertainty and increase my tolerance for ambiguity. Through the use of improvisation, intuitive structures, and openness to possibilities, I am able to proceed in a painting without fixing my view or knowing what the painting will eventually be. The kind of painting that I aim for is one that I am not completely able to grasp, yet it doesn’t push me away, and so I want to stay with it and remain within its ambiguity—in not knowing.

Arden Boehm
BFA 2018

Crushed (2018)
Assorted metals, Baltic birch plywood
Dimensions variable

In a culture that is controlled by material accumulation, we are continually encouraged to look for gratification in the form of attainment. My work investigates the relationship that we humans have with everyday objects. I deal with concepts of production as well as categorization and the notion of the archive. The seeming banality of everyday objects is countered by the emphasis designated basis of my exploration. I am fascinated by the value placed upon specific objects, as well as the act of casting away the seemingly useless when something newer comes along. My investigation is fueled by the social concerns that arise from a continuously growing mess of mass-produced things that are often so quickly considered to be worthless.

Sarah Burwash
BFA 2009

Grain of sand in my boot (2020)
Watercolour and collage
18 x 24 inches

Situated in non-specific yet decidedly natural landscapes, my work depicts figures experiencing the spectrum of life: creation, destruction, rest, play, curiosity, sorrow, exhilaration, death. Landscapes appear as outlying settlements in which I research the realm of physical and emotional experience including struggle, hard work, failure, and vulnerability. These dreamlike environments celebrate and question a range of gendered interests and identities with undertones of humour, fantasy, and performance. Nature perseveres regardless of its hardships—a disjunctive labyrinth to traverse in search of a meaningful path. In contrast to the virtual languages that saturate us, my intricate cut-and-paste style reflects an inclination toward the tactile and rudimentary.

Connor Charlesworth
BFA 2015

Push Up, Yellow (2020)
Oil on canvas
68 x 38 inches

The work Up Arms, Yellow is part of a series of paintings that are all the same dimensions. The figurative source imagery is derived from photographs I took and collaged together. All the works in this new developing series emphasize the verticality of the canvas and, for the most part, the forms remain contained well within the frame. I arrived at the subject matter and contained composition during the spring of 2020 during isolation and the various ongoing civil rights movements. During such times, I hope this network of gestures opens up a dialogue for consideration of our relationship to these events.

Jon Corbett
MFA 2015

Nohkom (2020)
Digital print on canvas
18 x 24 inches

Nohkom is from a series of digital portraits of my family and is the central image from my video work titled Four Generations that was exhibited at The Smithsonian’s National Museum of the American Indian and Canadian (2017-2018) Contemporary Native Art Biennial (BACA) (2020). This portrait of my paternal grandmother was computationally generated using 3D virtual beads and is the origin of my current PhD research that involves the development of a more suitable digital media toolkit for Indigenous artists. This includes an Indigenously-based programming language (currently Cree), physical hardware designs for Indigenous orthographies, and software/application solutions that use Indigenous Storywork as programmatic code.

Carin Covin
BFA 2003, MFA 2010

Easel Quartet XI (2020)
Oil and enamel on canvas
38 x 54 inches

The Easel Quartet began as observation and response drawings that reflect my interest in the politics of the everyday. Second Wave Feminism allows me a poetic understanding of the politics of the everyday and of the home. The easels provide an entry point through their function and inclusion as observed objects. The resultant drawings are manipulated through changes to scale and mediums used. These new works are then photocopied. The resultant solvent transfers push the images past their original intentions.

These images are re-translated into a new suite of paintings; Easel Quartet XI and XII are the beginnings of these new investigations.

David & Jorden Doody
BFA 2008

Virtually Empty, 2020
Mixed Media Assemblage, printed fabric, printed reflective film aluminum dibond panel and ironing board.

Artist statement: As sculptors, We wade in the brackish waters between image and materiality, investigating the tactile qualities of sculpture and three-dimensional space in the virtual light of screen culture and the post-internet age of image explosion. With a genuine commitment to experimentation and improvisation, We construct material assemblages that respond to the constant deluge and saturation of visual information. Our work explores the migration of contemporary culture and imagination into the realm of the virtual network, where We are forced to reconsider presence, absence, and reproducibility as We sculpt our understanding of authenticity. Blurring the boundaries between the rational and the absurd, the measurable and the metaphysical, We strive to dislodge our creative practice from the dogma of prescriptive understanding. By wrapping the immaterial and the subconscious in a blanket of contemporary psychedelia, We seek to cultivate an unbridled space where contemplation and entertainment mingle freely. We encourage rogue collisions between icons, symbols, and materials that forge new and vibrant networks of associative meanings within the vast nebula of the Post-American Imagination.

AJ Jaeger
BFA 2013

It’s a dark world out there (2006)
Mixed Media
72 x 48 inches

I believe that art is visual storytelling: communicating a needed message and showcasing beliefs, heritage, and vision. My work has deliberately evolved to depict the complexity and contrast of life through a combination of mediums, symbolism, and surface patterns. I am inspired by creating poignant works of art that catch the attention of people distracted by everyday life—as a rally-cry to remind us all to focus on what matters most. Intuitively acknowledging the uncertainty of life fuels my creative mind and heart to keep expressing candid emotions that positively transform our collective future.

Christian Nicolay
2000

On the Horizon Line (Shipping Pallet No.3) (2015)
Light jet photograph, salvaged Plexiglas, MDF, acrylic paint, found detritus paper, collage, ink, pencil, tape, correction pen
31 x 30 x 4 inches each (Diptych) (78.74cm x 76.20cm x 10.16cm)

Statement:
liminal
adjective

 relating to a transitional or initial stage of a process.
 occupying a position at, or on both sides of, a boundary or threshold.
liminal symbols of passage and transformation; doors, ladders, crossings, bridges, pallets.

On the horizon Line explores current issues of globalization and climate change through the lens of the liminal – a place betwixt and between. Our cultural landscapes are becoming increasingly crisscrossed and blurred through shifting borders and boundaries, directly impacting the growing challenges of migration and the transitory movement of people. Materials, images and objects reflecting concepts of liminality visually demonstrate transition and transformation – the visible and the invisible – the seen and unseen. The notion of ‘space’ and ‘place’ occurs in conjunction with idea ‘temporary’ and ‘permanent’ creating a play between the real and the unreal—the No Where and the Now Here.

Ed Spence
BFA 2005

Tunnelling (2020)
Pigment print and adhesive on paper
25 x 32 inches

This piece is one in a long series of experiments involving the dissection of photographs. Beginning as a single photograph that is subsequently cut into small units and rearranged, the image is abstracted, transformed and the original subject is effectively denied to the viewer. No information is lost or gained in the process, only rearranged. Designed as a metaphor for our subjective sensorial experience, the process invites thoughts about how we interpret information based on idiosyncratic personal and cultural patterns, and additionally, how information can be decontextualized and manipulated.

Pamela Turner

BFA 2017

Tunnelling (2020)
Pigment print and adhesive on paper
25 x 32 inches

I am focused on expanding the idea of fibre to include anything that can be linked or woven together, thus re-examining how fibres and materials function. It is important that my materials are only altered through the process of cutting, maintaining subtle but recognizable aspects of what the materials once were.

By choosing to keep my work monochromatic, my aim is to create an emergent image thatresults in a contemplative response from the viewer, both from a distance and up close.Blackness has been described as the definitive void, but it also marks the ultimate space ofcreative possibility. Monochromes both veil and reveal, as the expectations of objects weregularly associate with are given new potential through this method of material transcendence.

Tania Willard
MFA 2018

Gut Instincts (2018)
Digital print
~32 x 24 inches

Gut Instincts is an affirmation of women’s intuition, gut instinct, and ancestral voices that collapse the past, future, and present into an embodied and visceral experience of the present. This work takes its origin in a design from a cedar-root basket collected as part of the North Pacific Jesup Expedition (1897-1902) from Stl’atl’imx territories. In many collections, basketry from this period is unattributed to a maker. As an expression of Indigenous women’s art forms, this disappearance of named makers and ancestor artists represents the colonial disappearances and dispossession of Indigenous women, communities, and lands. My work seeks to bring these ideas, expressions, and questions that challenge the legacy and histories of anthropological framing of Indigenous art into connection with lived Indigenous experiences.

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I Must Be Streaming – Jorden Doody MFA Show

Jorden Doody is an interdisciplinary artist who is examining the transitional spaces between tangible material and digital media within the framework of spatial installations. By utilizing new media technologies in combination with traditional modes of craft, she choreographs sculptural installations that focus on blurring the boundaries between the theatrical stage and the architectural framework of the gallery. Jorden investigates how our contemporary culture responds to notions of presence and absence of the body in the digital age where illusion, escape and distraction are at the forefront of the collective consciousness.

As an artist whose practice is heavily steeped in intuitively relating to her surrounding environment, she actively responds to the mercuriality of digital image with the resonant qualitiesof physical materiality by remixing and re-contextualizing the realms of Craft and Pop culture. With the dematerialization and fragmentation of the self in the digital era, Jorden’s sculptural installations evoke and hold space for new and alternate perspectives of connectivity.

Jorden’s recent work is focussed on creating an iconic visual language where lived experience and theatrical metaphors intersect within the exhibition space. Here the alchemy of form, texture, pattern and material presence are synergized and activated by a hand painted mural that wraps and warps around the gallery. By showcasing an objective shift in scale between the platforms of a handheld digital device and the spatial constructs of the gallery space, she acknowledges and incorporates specific modes of display that include large hand fabricated objects with digitally mediated images.

Jorden Doody’s installations explore the tangibility of sharing tacit knowledge through art by offering a relational yet surreal experience of dynamic visual encounters. Jorden’s interdisciplinary method of making is relevant to subjects surrounding contemporary communications where the evolution and the stability of our expanded communities are challenged through the exponential growth and the impact of digital technologies and social medias.

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