Wednesday, July 4, 2018

Homeland, Homesick and Homeless

This week is full with documenting performance collaborations. I made the flag last year, hopeful to propose it as a public art piece for the City of Vancouver.  Not surprisingly, my proposal for honouring sites of squatter communities through the decades was rejected.

 Instead I am finding other ways of reclaiming space in my city. 

Friday, June 22, 2018

"End times"

New work for an upcoming show! Details to come soooon. 

Thursday, June 21, 2018

They did it again...

The city painted over another Jenny/Street Artist collaboration. And this was my response. 

The stencil was put up a day before I heard the news that I'm being renovicted. I have to be out by the end of the month. I'm not so sure this is an "ode to joy" but it will be nice to have a new space that doesn't smell like mold. 

Any studio leads in the DTES? Let me know! 

Thursday, May 24, 2018

Illicit Shadows

Once in a while I make paper cut-outs for a community-engaged, arts-based research project called 'Illicit'. I've learned a lot about the power of suggestion; how a simple shadow can set the stage for a profound work of art. 

I have been loosely connected with this group since last year, when I was invited to make cut-outs for a performance that was installed in a back ally. Since the early days of Macgyvering a set on the fly, they have come a long way and are preparing for a performance at the Orpheum!

Watch this video to learn more. 

Broken Window Collaboration Continued

Thursday, May 17, 2018

Right to return

In the wake of the U.S. Embassy opening in Jerusalem and the past seven weeks of protests in Gaza, this piece feels timely.  I made Diaspora in 2016 after returning from a month long artist residency in Israel/Palestine. It's been sitting in my studio waiting for a wood base forever. I was forced to complete it for a group show next month (see below).

'Diaspora', ceramics from Hebron, Jerusalem and Bethlehem, olive wood, 2016

The show: 

Wednesday, May 2, 2018

End times

Last month I had a studio break-in. It was stressful but it came at a good time. It provided me a clean break from the old work so I can make new art for my October show. I'm currently embroidering words that I find on the street (written messages that people leave each other). We have an archaic communication system in the Downtown Eastside but it works. I am intrigued by how the personal and intimate details of someone's life are displayed for anyone who will notice. Some messages are funny or profane, others are tragic. Once in a while I come across street prophecies and bits of wisdom.

I work with Old English Font for a few reasons; nostalgic sentimentality and its over-use in tattoos and street brand clothing. My needle work goes on vintage handkerchiefs but I love the subtle connections with street culture.

Eazy E confirming my font choice. 

Saturday, March 10, 2018

'Adrift' in pictures

Floating. Unmoored. Unsettled. Displaced. 

‘Adrift’ emerged from an artist residency in Israel/Palestine and an invested interest in themes of homecoming, displacement and migration. The artwork was created over a period of five years, from a place of questioning while visiting and researching contested territories. 

Passage and Exile were created for a group show responding to literary works by The Inklings. C.S. Lewis and his contemporaries wrote epic narratives with unlikely heroes; individuals who have uprooted themselves (or were forcefully expelled) to embark on a dangerous journey toward a promised land. In ‘The Weight of Glory’ Lewis speaks of the desire for a far-off country and the sense of longing that lives in every human being. The material for the banners are scraps of cast-off clothing found in the Downtown Eastside. The fabric is tattered and stained; evidence of the journey. These banners reference heraldic flags and pay homage to the ordinary heroes and weary Transients of our city. 

Floathouse was built in Alert Bay, B.C.. It is about the journey many people (including myself) have made, from a small community to the city. A Good Place to Die speaks to the nuances of ‘home as shelter’ or ‘home as self-imposed prison.’ The shotgun shells were sourced from the mountains I grew up in. Diaspora and Soldier Boy were made with materials collected from Israel and Palestine. The ceramic fragments were found in the ruins of demolished homes in Hebron. 

These artworks speak to the politics of wandering. From wall hangings made of cast-aside clothing found on the streets of East Vancouver to a home built with broken ceramics collected from the West Bank in Palestine, Adrift addresses the tenuous search for ‘home’ and ‘belonging’ in a shifting world.  

Friday, March 2, 2018

Broken Window Project

A few weeks ago someone smashed my studio window. I wasn't too cut up about it though, because it gave me a public canvas. One graffiti tag is an invitation for ALL graf writers. A clean wall is also a welcome invitation. I am priming the canvas so others will participate. It seems the City of Vancouver wanted in on the action because they gave me a blank board to start over with. 

This is an ongoing project that will be documented until the window is fixed. It could be a while...

Saturday, February 24, 2018

Women in Lace

My studio has been empty for the last few months, except for these beauties. 
Throwback to the Van Dusen OBAC show. 

Sunday, January 7, 2018

Bleeding Hearts and Origin Stories

The show is up at the Bleeding Heart Art Space in Edmonton for the month of January! Take a look if you are in the area. If you aren't, take a peak below. 

Origin Stories is an exploration into the complex elements, both internal and external, that contribute to identity. It questions the validity of memory and highlights the universal desire to find home in the midst of a shifting world. 

Floods have had a place in origin stories and cultural identities since the beginning of time. The earliest surviving piece of literature, The Epic of Gilgamesh, references a global flood that is strikingly similar to that of the Judeo-Christian tradition. Indigenous oral histories include variations of flood narratives and in recent time, regions around the world have been ravaged by rising waters. There is no doubt that collective identity is heavily influenced by the natural world. Yet water in its many forms also nurtures and sustains life.  

Personal and collective identity are defined by embellished narratives that border myth; this show explores the ambiguous threshold between perception and reality. The artworks are inspired by my childhood in a small town located in the foothills of the Cascades, where the Sultan and Skykomish rivers join. The narrative poetically departs from fact into myth when familiar forms are used in unfamiliar arrangements; mirroring the fragmented nature of memory. 

The materials in Origin Stories are sourced from my hometown. The shotgun shells collected from an obscure logging road. Lace table clothes and handkerchiefs from a local antique store. Jars of pebbles, fish bones and water from the Sultan River. Photographs from my mother’s photo album.

My Great Grandmother features prominently in the work. She was influential in my formative years and has shaped my visual aesthetic, humour, and deep yearning for adventure. Like many immigrants from ‘the old country,’ she had a distanced relationship with her own origin stories. 

Together, this body of work weaves an intergenerational story that is shaped by glacial rivers and family narratives.