The Flood Six - Hyena (2018) Acrylic, flashe, marker and collage on paper. I want people to understand and accept that not everything has to be for them, not all symbols have to be revealed and explained-and sometimes it can be confusing and left a mystery. I like to defy this expectation by stacking layers, mixing up multiple signals, codes, and even languages. There is a general expectation that the work will be broken down into basic and understandable codes, whether by the artist themselves a writer, or by a curator. My work is personal, and some of the layerings are meant to reveal and later protect or hide information.Īdditionally, I think a lot about how works of art are read. I also dig back into the layers or cut and paste older works to reveal the past. Showing the history of my hand is a way to tell my own story, my own history. History is a complicated thing it is almost always told from the perspective of the dominant power. Every layer shows a new choice it’s a record of my decisions. JM: Layering is a vital element in my work. How do these serve your conceptual interests? OPP: You use recurring formal strategies like transparency, overlapping and reusing parts of old work to make new work.
![fantastical sandwich drawing fantastical sandwich drawing](https://i.ytimg.com/vi/thdr3cbxRvo/maxresdefault.jpg)
I also really love the synchronized dance sequences in Busby Berkley films of the 1930s for the extravagance of it all.Ĭhaos Eyes Redux (2020) Mixed media.
#Fantastical sandwich drawing movie#
I love maximalist audio and visual experiences, it's hard to narrow it down because there is so much out there from mainstream pop culture to experimental work-however, my absolute favorite movie is Dario Argento's 1977 Suspiria, for its garish lighting and beautiful compositions. Other influences include Howardena Pindell and Jack Whitten for their textural mixed media works and their processes. It was their fearlessness and vulnerability I was drawn to and how they used their bodies to examine and critique the politics of othering and to deconstruct power structures such as white supremacy and patriarchy. JM: It was during undergrad at SMFA where I was first introduced to Performance Art and was really inspired by the work of women performance artists of the 60s and 70s and in particular: Yoko Ono, Adrian Piper, Joan Joanas and Valie Export.
![fantastical sandwich drawing fantastical sandwich drawing](http://viralcircus.com/wp-content/uploads/2014/01/bag10j.jpg)
Nope, No Way (2019) Mixed Media Collage on Paper. OtherPeoplesPixels: When I say the word layers, where does your mind go? Jackie lives and works in Baltimore City, Maryland. Only three days left to see her work in Re-Materialize at Arthur Ross Gallery at the University of Pennsylvania (Philadelphia). Grimaldis Gallery (Baltimore), Portate Bien (2020) at Langer Over Dickie (Chicago) and It Means Desert, Desert (2020) at Julio Fine Arts Gallery (Loyola University, Maryland).
![fantastical sandwich drawing fantastical sandwich drawing](http://getdrawings.com/images/sandwich-drawing-2.jpg)
Recent solo exhibitions include: Chaos Comes and Goes (2019) at C. In 2019, she was named a Janet & Walter Sondheim Prize Finalist and a Robert W.
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Jackie earned her BFA at the School of the Museum of Fine Arts at Tufts and her MFA from Towson University. A part of one piece becomes the beginning of another. This ongoing, ever-evolving process of creation refuses the notion of artworks as static, archival objects. She cuts and draws and paints and sews, cannibalizing previously-exhibited works to make new works. She employs layering as a strategy to protect, hide and transform recurring symbols like eye, snake, brick wall, and breast. JACKIE MILAD thinks of her layered, mixed media works as time-based art.