The Netherlands / UK
MFA Painting
-
Untitled
Jenny Wilson, 2008
oil on canvas
45 x 35 cm -
Tower
Jenny Wilson, 2008
oil on canvas
45 x 35 cm -
Mound
Jenny Wilson, 2008
oil, paper and nail-varnish on canvas
24 x 18 cm -
Structure
Jenny Wilson, 2009
oil on canvas
24 x 18 cm -
Untitled
Jenny Wilson, 2008
oil and paper on canvas
30 x 24 cm -
Untitled
Jenny Wilson, 2008
oil, paper and nail-varnish on canvas
24 x 18 cm -
Untitled
Jenny Wilson, 2008
oil on canvas
24 x 18 cm -
Organic Pillar
Jenny Wilson, 2009
perspex, yoghurt, siliconekit
187 x 8 x 8 cm
Painting doesn’t have to stay on the canvas. This site-specific work, temporarily installed at Sign gallery consisted of strawberry yoghurt, trapped between the perspex sheets, and slowly rotting over a 3-week period. -
Organic Pillar
Jenny Wilson, 2009
detail, beginning stage -
Organic Pillar
Jenny Wilson, 2009
detail, end stage
Artist
Jenny Wilson
1982, The Netherlands/UK
BA (Hons) Fine Art, Central Saint Martins School of Art & Design, London, 2004
mail jenwil82@hotmail.com
1982, The Netherlands/UK
BA (Hons) Fine Art, Central Saint Martins School of Art & Design, London, 2004
mail jenwil82@hotmail.com
Statement
For me, painting is an alchemical notion where Form can simultaneously come to exist and fall apart. It is a balancing act between existence and collapse. The visual thematics in my work circulate around nature, the organism and the notion of fluidity.
I work on small canvases, creating abstract spaces reminiscent of a vanitas aesthetic. Sometimes I also use fragments of collage, which I embed into the paintings.
My studio practice consists of a research of painterly substances, a desire to grasp its function but yet to blindly follow its (and also my) desire.
Q&A
What is the very first thing you do when you walk into your studio each day?
I put down my bags, take off my coat and have a look around. What is your drive for making art? (Is it a need? Does it help you think? Is it for yourself? Are you trying to tell someone else something? To whom?)
Art is my playground. How to consume art?
con-sume v
1. vt to eat or drink something, especially in large amounts
2. vt to use something in such a way that it cannot be reused or recovered afterward
3. vt to fill somebody's mind or attention fully (usually passive)
4. vt to destroy something or somebody completely, especially by fire or disease
5. vti to buy goods or services produced by other people What function has (had) writing (the thesis) in your artistic process?
I write for myself. It is an extension of my thought process - it is reflective and reflexive: a continuous re-deployment of my subjective fragments. An inter-contextual gathering of notes, of visual fragments and literary snippets, a reflection upon and a platform for raising questions that will aid the thinking around the made object. It is by no means an analytical manual for reading the visual, but simply a supplementary source that can simultaneously be another creative outlet. Which one of your fellow graduating students has in your opinion experienced the most remarkable development during his/her stay at the Frank Mohr Institute, and why?
Now that's a naughty question.
I put down my bags, take off my coat and have a look around. What is your drive for making art? (Is it a need? Does it help you think? Is it for yourself? Are you trying to tell someone else something? To whom?)
Art is my playground. How to consume art?
con-sume v
1. vt to eat or drink something, especially in large amounts
2. vt to use something in such a way that it cannot be reused or recovered afterward
3. vt to fill somebody's mind or attention fully (usually passive)
4. vt to destroy something or somebody completely, especially by fire or disease
5. vti to buy goods or services produced by other people What function has (had) writing (the thesis) in your artistic process?
I write for myself. It is an extension of my thought process - it is reflective and reflexive: a continuous re-deployment of my subjective fragments. An inter-contextual gathering of notes, of visual fragments and literary snippets, a reflection upon and a platform for raising questions that will aid the thinking around the made object. It is by no means an analytical manual for reading the visual, but simply a supplementary source that can simultaneously be another creative outlet. Which one of your fellow graduating students has in your opinion experienced the most remarkable development during his/her stay at the Frank Mohr Institute, and why?
Now that's a naughty question.