SUBSTRATE, New Installation Works by Jennifer Jeannelle by hadley hooper

Opening Reception April 10th, 6-10pm. The exhibit runs through May 16, 2015

Recently, I have been fascinated with the interspecies spectacle of swarming and technological reliance on understanding swarm behavior. Not only are the visceral effects of swarming an amazing array of sight and sound, but the mystery of place and circumstance that trigger swarming behavior drives my research and, consequently, my work.  What is it about a certain tree branch that thousands of bees will converge?  What force guides predictable migration patterns to reoccur year after year?  Ultimately, is there anticipated energy or a mathematical explanation acting as a catalyst for swarming behaviors?  

 “SUBSTRATE” investigates these underlying concepts while manifesting as colossal drawings, gridded clay and thread wall structures, sculptural land- and skyscapes of ceramic swarms, and digitized, motion-activated sound. For the viewer, I am creating an overwhelming experience of emergence within a swarm, calculated, organized and objectified as a structured rhythm, an organic abstraction with repetitive qualities, breaking the boundaries between the hard-edged mechanisms of manmade materials and the soft organic qualities of natural objects. My work becomes a way for a viewer to understand and engage in the swarming system, recognizing their own role as a trigger for others’ behaviors.   -Jennifer Jeannelle, April 2015 


JENNIFER JEANNELLE received her Bachelor of Fine Arts in Ceramics from Metropolitan State University and her Masters of Fine Arts in Sculpture & Installation from the Lesley University College of Art and Design. JEANNELLE is an artist and art teacher in the Denver area with studio space at Ironton Studios and Gallery.  Her work has been extensively exhibited locally and nationally. 

JEANNELLE describes her work as a collaboration with the Earth, harnessing the metaphoric energy of materials and exploring visual associations between art, science, technology and human development. Produced in series, her large-scale installations are versatile collections of natural and synthetic materials.  Representing the transcendence of time: clay, concrete, plastic and glass symbolize permanence; plant life, rusty metal, wax and computer components signify impermanence.  Historical and cultural research informs the conceptual elements of the work as she attempts to connect seemingly unrelated systems and structures of the earth to the transitory development of technology. Her understanding of these complex systems manifests through mimicking, abstracting, recreating and reinterpreting.