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Primer:
Jennifer Douglas
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Wokrplace is pleased to launch a new episode of its Primer series, where a new work is investigated as a mean to explore the artist's wider practice.
Presented here is a Olivia Jia's new work from her book series, in which the artist uses pages of fictional manuscripts as the repositores of her unconventional still lifes, where disparate images from the artist's archive of collected ephemera exist together.
Through a closer look at '..' and the process behind the creation of the work, this online presentation will focus on the function the artist's extensive archive hold withn her practice and her particular interest in the relation between images and knowledge creation.
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For Douglas the exploration of material through touch is essential to the process of making: it determines the outcome as the finished work captures the subtle movements, gestures and actions of the artist's hand.
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The final stage in the artist's creative process is to scratch and pierce the canvas with throwaway utensils such as pens, craft knives and screwdrivers. Through these actions Douglas is breaking the rhythm of the monochromatic surface and creating tension between the precious nature of the silver and the destructive nature of these gestures.
Image: detail of Jennifer Douglas, Entropic Cosmos (Silver I), 2019
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"One specific language which abounds in Douglas's polyglottic practice is the language of materials. Materials do not communicate simply on the literal, cerebral level of written or spoken language but physically through a syntax of forms, properties and processes"
- Iris Priest, 2014
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Jennifer Douglas was born in 1975 in Amersham, UK and she currently lives and works in Newcastle, UK. She studied Fine Art at Newcastle University and completed her MFA at Glasgow School of Art in 2005. Exhibitions include Crab Walk, NGCA, Northern Gallery for Contemporary Art, Sunderland, UK; Confusion in her eyes that says it all, Maria Stenfors, London, UK; Tip of the Iceberg, Contemporary Art Society, London, UK; From Acanthus to Zebrawood Cooper Gallery, University of Dundee, UK; Beijing/Glasgow, Museum of the Central Academy of Fine Arts, Beijing; Exit Strategy, Tramway, Glasgow, UK; The Games we Play, Barcsay Sala, Budapest; VANE Export, Tensta Konsthall, Stockholm, Sweden; You Shall Know Our Velocity, Baltic Centre for Contemporary Art, Gateshead, UK. Her work is represented in collections such as The Government Art Collection UK; Tyne and Wear Museums Collection, UK. Simmons and Simmons, UK.
