I am delighted to share that I will have work in Enormous Tiny Art #15 at
Nahcotta Gallery in Portsmouth, NH, opening this Friday, February 7th. I
have been a long time admirer of this collective, and I'm very excited to get to show my
work along side such an incredible group of artists. My work for the show
can be viewed and purchased at: http://www.enormoustinyart.com/Artists/a-c/Brown,-Jenny.aspx
My interview and work is now out in print in Uppercase Magazine's
Work/Life 3: the UPPERCASE directory of illustration. My collage for this project stems
from the idea of creating packing for a beauty product such as a fragrance. I am so
honored to be a part of the project! #wl3 #uppercasemagazine
I was delighted to be asked recently to be a part of "BalletX," a benefit exhibit at
Bridgette Mayer Gallery in Philadelphia which goes on view in July. There was only one catch-work for the show had to be made or presented on a 10" x 10" cradled board. I've tried to display my collages in this manner before, but it hasn't been that successful. I always found myself fumbling over the process, so frustrated that I couldn't slow myself down enough to be more thoughtful about mounting and treating the materials. I can't do something like this, I told myself-
I like making my work my way because there is a sense of immediacy in results!
But I have found that when I stop taking risks and trying new things, my work can become too repetitive. Since I knew exactly what images I wanted to develop in the collages, I was really able to focus my energy on mastering the art of preparing these board presentations. As much as I have always hated creating/building/making things that take "too many steps," (much the way I dislike cooking because of the many steps), this process became almost mediative for me--fixing the paper to board, using a roller to smooth out bubbles, and finally, the biggest step-varnishing!
Once mounted on board, I found my collages taking on a new role in space, and a new presence, and I really liked it. Maybe it's that the collage on board allows the viewer to get closer to the work, where as in a frame there is the barrier of the glass? Or perhaps it's the element of having a work that is more of an "object," having more density?
I'm glad I didn't let my usual fear of messing things up keep me from trying this. And I certainly did mess up on the first few pieces-streaky, clumpy varnish, wrinkled paper, etc. But I didn't wallow in the loss of a few collages to some less-than-stellar varnishing. My freshman year Introduction to Painting teacher's advice was echoing in my head all during this experiment. She said it was never good to get immediately attached to a work-there are always things that can be improved about the piece (but you might not always get it right). That it's better to give it a shot and possibly ruin something, rather than sit there too satisfied with a first attempt. If it gets ruined, it was never really good in the first place. Excellent advice that once again rang true during this project. So I went ahead a ruined a few pieces, and ended up with Flowering Bark (shown above). Infinitely better than the pieces I started with.
Jenny Brown is a Providence-based artist who loves drawing, collage, and working with found materials- especially old paper.
- Power of the Flower at Concord Art
- Jenny Brown Art at the AAFNYC 2018
- Jenny Brown Art Prints Now Available at Anthropologie.com!
- Jenny Brown Art Prints at Artfully Walls!
- Jenny Brown Art at Anthropologie
- Jenny Brown Art Pop Up at West Elm 12/3!
- Looking for Limited Edition Prints of my work?
- Where to Find Me
- Thank you, 2015
- Welcome 2015
- Treasure of the Stars & the Sea
- Upcoming Collaboration with Pony Anarchy Magazine
- Enormous Tiny Art #15 at Nahcotta
- Work/Life 3: The UPPERCASE Directory of Illustration
- Go Ahead and Ruin It
- Barnacles and Blossoms at Voltage Coffee & Art
- Losing Face
- "Harmony" at Castleton State College
- In the Moment
- The Search...
- The Beginning...