Jennifer’s contemporary drawings play with the abstract ambiguity of organic form, using simple media and a multitude of natural visual sources to explore the relationship between line and negative space through a time-consuming process of repetitive mark making. Perspective and visual aesthetic both come into play in her work, and the accumulation of intense detail allows the interpretation of both micro and macro scale. She graduated in 2019 with a BA honours degree in fine art from the University of Chichester, and is now pursuing a career as an artist.
Is there a change in your work since society has become increasingly aware of the world around us?
I can’t say there has been a visible change in my work at this moment in time, however I have always been conscious of the world around me when searching for inspiration from natural sources; repetitive patterns and textures in nature, microscopic organisms, cross-sections of plant cells, aerial photographs of landscapes, clouds, maps, mould, and bacteria. My process of drawing however, for me, is still a way of switching off from the outside world, and I’m always developing as a new artist so we’ll see where my work goes!
Who are your biggest influences?
My all-time biggest influencers will always be Shirazeh Houshiary, Yayoi Kusama, Waqas Khan, Julie Mehretu, Vija Celmins, Becky Allen, Emilie Pugh, Tania Kovats and Richard McVetis, to name a few.
Explain your style, the detail, repetition and intricacy within your work and why you design in this way?
My main interest is understanding and, essentially, being able to mimic the growth and spread of organic material, something that I try to emulate in my drawings by allowing each work to grow without an intended outcome. I began drawing this endless pattern back when I was studying my foundation degree, and became obsessed by the pattern left on a collagraph board after a day of learning the process of intaglio printmaking. I’m the type of person that’s always doodling something so this pattern just took over my subconscious and I started drawing it all the time, everywhere I went, eventually realising that I should pursue this method of contemporary drawing as my practice. The intricacy and detail developed as time progressed, as I am constantly trying to push my hand and eyes to the limit and create marks so minute that people don’t believe they are hand drawn. The repetition in my work came naturally, and acts as a way of marking the passing of time, also making my drawing practice an act of ritual and meditation.
What are your plans within the foreseeable future in terms of design, is there a specific subject you will be focusing on and why?
Working on how I can develop my practice to be sustainable is at the forefront of my mind right now, along with making work focusing on time, control and lack thereof in the coming months. I also have a few exhibitions approaching so will hopefully gain fresh inspiration and new ideas from those too!
Explain your thought & process behind the designs submitted.
I was in quite an experimental phase of my work when I made this design. My work revolved around the subject of seriality and repetition at the time. This hand drawn design was an attempt at creating something that seemed uniform in order, but with closer attention is actually imperfect with one of the circles being left unfilled. I wanted this difference to be subtle, allowing the viewer to make their own interpretation of what the individual absence stands for.
The red hand-drawn design on the Australia tee was one of my first times drawing my distinctive pattern with colour. I wanted to ultimately see how the colour affected the way my work was perceived; the intense red ink was able to give the work strong emotions and a different presence making for a suitable choice for the Australia tee.