Paige Williams, Signs Point to Yes, 2019, acrylic on Yupo, 13 x 10 in, courtesy of the artist 

4 Ohio women artists’, Alison Jardine, Heather Jones, Jenniffer Omaitz & Paige Williams, playful investigation of materials including fabric, cast concrete, polypropylene, traditional oil and acrylic, casein and marble dust.

Sponsors

Presenting: The SHE Society

Exhibition: University of Dayton

Education & Public Programs: Dr. Robert L. Brandt, Jr.

South Dayton, OH February 2020

by Lifestyle Publications

Events & Programs

Opening Reception & Gallery Talk

January 17, 2020

Gallery Talk 5-6 p.m.

Reception 6-8 p.m. 

Curator in Residence Jeffrey Cortland Jones leads a walk-through of the exhibition with the artists.

Free & open to the public

 

Workshop: Make Great Art on Your iPad

January 25, 2020

1-3 p.m.

Led by Alison Jardine

Registration required

About the Artists

Alison Jardine

Cincinnati  |  alisonjardine.com

My work is driven by two main preoccupations: the human relationship with our environment, and the materials with which I choose to work. I like using vernacular materials such as broken branches, discarded plastic packaging, or plastic grocery bags, and casting them in building materials as a way of exposing them to a new scrutiny. 

I place these casts into situations and environments in which they do not belong, and in arrangements and juxtapositions that pull from our long
history of enclosing the outdoors in open arrangements to create ritual spaces in nature. 

Fossilization occurs naturally with limestone and minerals, yet my casts of everyday objects are of concrete, the ubiquitous material of modernity. I imagine that one day they might end up buried as geological relics, in the Anthropocene strata along with the metal, glass and steel of our cities, for future archeologists to rediscover.

Alison Jardine, Untitled (detail), 2019, concrete, tree trunks, paint, mulch, courtesy of the artist

Heather Jones

Dayton  |  heatherjonesstudio.com

My work explores the formal possibilities of color and shape, often through geometric and striped compositions. I am drawn to fabric, to its familiarity, its inherent qualities of saturated color and textural luminosity, and its invitation to be touched. Fabric reflects, captures, and interacts with light in a way that no paint can. I choose to create paintings with fabric because it feels honest: clean lines are formed between colors through the process of being sewn together, rather than through the use of an artificial barrier like tape. By manipulating fabric and pulling it taut, seam lines shift and stretch, revealing their final placement only once the painting is finished. 

 I am also interested in the historical and socio-political relationship between women and textiles and women’s work. I explore the relationship between gender, place, time, and culture in my work, as a way of connecting with my Euro-Appalachian ancestors who settled into southern Ohio and eastern Kentucky, many of whom made goods with their hands as their livelihood and connection to their ancestral homes. Conceptually, my work carries on the tradition of woman as maker, pushes the boundary between fine art and craft, and questions the definition of painting.

Heather Jones, You Don’t Get it, Do You, sewn cotton, wood panels, grommets, 80 x 120 in., courtesy of the artist

Jenniffer Omaitz

Kent  |  omaitz.com

Our urban and geographic environment is in a constant state of transformation. My work explores states of change between order and chaos that relate to the visual experience of environmental shift. Painting and Installation Art are modes of communicating our sensitivity to environmental factors; these practices provide me with a cadence and context through which to express ideas. My installations explore order/chaos theory by invoking abstraction through the juxtaposition of technology, architecture, and nature colliding. Paintings are a meditation on movement, color, permutation, and gesture; boundary coordinates operating between space and color.

 My paintings explore ideas of Fold, Gesture and Movement. These are approached in two ongoing series; Solid Movement and Folding Gesture. Solid Movement is an investigation into gesture and its ability to encapsulate time and psyche, fuse internal and external, and record conceptual state changes in solidified form. Folding Gesture explores changes in spatial order that appear fractured or fragmented. These states can remain calm or reconfigure coherence in the painting. I am interested in the connection between a fold as it relates to architecture or design and gesture as it relates to aspects of drawing and 20th century painting. This series struggles to define beauty, exploring abstraction as incident and artifact of the process in which paint is applied, exposing interior and exterior spaces that may not coexist. There is a constant struggle between surface and ground; between paint and the boundaries within the painting. This series of work attempts to unify my sculptural endeavors with my interests in painting.

Installations built encompass three-dimensional landscapes frozen in the midst of a chaotic event. This “event” is reminiscent of a landscape that has been caught in a fictitious disaster. By incorporating drawing and painting with objects and found materials, this ignites play between the structure of the gallery and the theatrics of the painterly gesture and their united associations. This sense of theater is a formal extension of the shadows cast by gallery lights, the configuration of the wall, ceiling, and the intrinsic architectural nature of the given space.

Overall, my work explores space; both physically and psychologically. This refers to “Space” as it is applied to a two dimensional surface, or a three dimensional location.

Jenniffer Omaitz, Place, 2019, acrylic, 37 x 35 in., courtesy of the artist

Paige Williams

Cincinnati  |  paigewilliams.net

By utilizing dichotomous materials my work explores contradictory extremes such as perfect/flawed, vulnerable/resilient, constant/irregular. Transitory materials hover over impenetrable surfaces. Silver is a catalyst; a transition metal. It foils our perceptions and impedes logic; it is transient, ephemeral and potentially fleeting.

The grid, though varied in form, is a recognizable constant throughout the work, attempting to embrace and perhaps even celebrate a deviation from systems and precision. A tendency towards order and perfection thwarted by our shortcomings. I am greatly intrigued by that which makes us human: varied degrees of elegance, awkwardness, clumsiness and grace.

Paige Williams, Signs Point to Yes, 2019, acrylic on Yupo, 13 x 10 in., courtesy of the artist

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