1. Outside In.
2.Drop.
3. The Space Between.
4. The Space Between.
4. Degrees of Ambiguity.
4b.Degrees of Ambiguity.
4c. Degrees of Ambiguity.
5. Flat Corner
6. Cyclical Flow.
7. With Draw (Film still)-
8. Lines of Passage.
Images
1. Outside In, The Unstable Line exhibition, AIR Gallery, 2022.
2. Drop, Aspex Gallery
Residency Space, 2021.
3. The Space Between, Dazzle and Disrupt Exhibition, Quay Arts, 2020.
3B. The Space Between, Quay Arts, 2021.
4. Degrees of Ambiguity, Courtx, Durational Drawing, interacting with vinyl drawings installed onto the gallery windows.
4b. Degrees of Ambiguity, Courtx, interacting with vinyl drawings installed onto the gallery windows.
4c. Degrees of Ambiguity, Courtx, interacting with vinyl drawings installed onto the gallery windows.
https://vimeo.com/manage/videos/612744756
5. Flat Corner,
Dazzle and Disrupt, 2021.
6. Cyclical Flow,
Art House 1, 2019.
7. With Draw. (Film still)….Film With Draw 136/30464
8. Lines of Passage
Jeannie Driver is
a contemporary visual artist, living and working in Britain.
Born in
1966, Driver attended art school at 16, before leaving for Madrid. On her
return she graduated with a Fine BA in 1998, (first class) and was awarded a
scholarship for her MA in 2000 (distinction) from the University of Portsmouth.
At this stage, as a single parent, Driver’s concerns in the role and
relationship between art, artist and audience, initially played out in the
public realm. Projects include; SPIKE IT –studying relationships and behaviors
in offices and participatory digital drawing projects, Turning Portsmouth on
Its Head, and Extra Mural.
Driver moved
to a studio practice in 2010 focusing on the material, conceptual and value
systems of (waste) paper documents, leading to her Hard Graph Series of works.
Exhibitions include, Preparing the Site,(2016) The Bank Space, London, Lines of
Passage, Salisbury Arts Centre, Ubiquitous Materials, (2012), South Hill Park,
When Contents Become Form (2013) Arybyte Galley, I think this must be me. FOUNDD, Woolf Gallery, London.
Winning a DYCP award in 2017, Driver developed her sustainable Drawing Kit, based on systems and rules for the Lifting the Drawing off the Page series of installations and film. Recent solo and group, exhibitions include: Dazzle & Disrupt, Quay Arts, IOW, (2021). The Unstable Line, Air Gallery, Manchester, (2022). Edge to Edge, Cello Factory, London,(2021) Iterations, Art House 1, London, (2019).
Jeannie
Driver’s post minimalist works utilize materials imbued with processes and
metaphorical references to present works as drawing, installation, sculpture,
and film.
Lifting The
Drawing off the Page’ body of works develop from drawings on the page, as an
intimate and personal ritual, where each line raises and falls in harmony with
the breath and where multiple lines become form, barriers, openings and space
for imaginary navigation.
Transversing
the two and three dimensions drawings are reinterpreted utilizing systems,
rules and measurements to create transient, 'un-fixed' drawing installations
reliant on gravity that shift in time and space. This interest in sequence and
repetition flows throughout her work, in both the utilitarian material and the
processes she employs. Traditional drawing materials of charcoal, graphite and
paper present an anonymous but dominant presence; as line becomes object, dust
becomes surface, and space as form. Created in scale relationship to her own
body, Driver’s wall installations present opportunities for visual perception
that alters with viewers gaze and position.
Inspired by
the drawings and approach of Sol Le Witt, Legia Clark, Jesus Rafael Soto,
Driver has developed her ‘drawing kit’: crates of charcoal coated shredded
lines, and forms, that are presented as transient works in numerous wall
drawings. This approach is underpinned by Drivers concern with a
‘responsibility to materials’ and enable others to recreate installations with
the kit supported with templates and drawing sequences. See more of her work at
www.jeanniedriver.com and on Instagram
@jeanniedriverartist.
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