Jennifer Jayarajah
(47 years old. Born in United Kingdom. Lives in: Plymouth)
Plymouth College of Art and Design
This body of work is the culmination of experimentation with stitch, as a process, a concept and within feminist discourse. As a process stitch has been used to join together pieces of feminised (softened) glass using copper wire. As a concept it considers, mending, joining, renewal and regeneration.
Stitch remains significant in feminist discourse, even if not the artists declared intention.
The incorporation of shadows was ...[more]
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Work of art I would like to make
Limitations of kiln size and costs prohibited the creation of larger scale pieces for my degree show. I would love the opportunity to create enormous pieces that could be suspended outside a building. I would source a type of toughened glass that could be feminised in a kiln and stitched together with copper. From this huge sculpture I would project a false shadow, although at times its authentic shadow would be visible.
In response to the theme the world in 25 years, I have looked back 25 years to see what changes have taken place with regards to the visibility of women artists and artists of colour. The Guerrilla Girls poster – Do women have to be naked to get into the Met demonstrated in 1985 that 5% of artists in the modern art section were women, they recently revised the poster to show that it was now 3%, these statistics are reflected in Britain.
Matthew Collings recalled, in his column in Modern Painters of a time when he decided to look through a Time Out for exhibitions by women artists. He found only one by Lorraine Leeson. “Unfortunately I couldn’t bring myself to go…how did anyone get pleasure from it?” With this idea of pleasure in mind I would strive to make a piece that would not only remind us of discrimination and question who is visible in the artworld but also bring “pleasure”, precipitating a significant shift in the perception of feminist art over the next 25 years.
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My Artworks (6)
Click on the images to enlarge
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