Jennifer raised a family of eight as a single parent in what she refers to as her “first life”. An autodidact by force of circumstance, her education came by books, galleries and finally the internet, using what time she could carve from the demanding lifestyle.
After gaining a degree in Graphics, when the youngest children left for university she began her “re-invented life”. She diverted to painting, mostly self-taught, but periodically studied under Nicholas Beer at Sarum Studios. This was followed by a Masters in Arts Practice at the University of Suffolk which was completed in 2017.
As a relatively new painter she is currently developing her painting practice both in her studio in Suffolk as well as working plein air. She has had residencies in the UK as well as Cyprus, Czech Republic and Italy. She teaches privately, both sight-size studio techniques, plein air painting, and technical workshops for oil painting.
She is currently writing a book on the transition from postmodernism to metamodernism.
A dichotomy exists between art school academia and the atelier movement, with the key issues being the role of representation, technical and observational skills, and critical theory.
A balkanisation exists between academic disciplines, particularly within institutions with ever narrower and intensely specific research, buried in specialist and opaque language. It is a situation that many academics are coming to realise is limiting.
Taking a generalist position, I use Jean Piaget’s transdisciplinarity to consider the effects of postmodern thinking and use the drone swarm as a transdisciplinarian allegory for social change.
Mikhail Bakhtin’s chronotope and his ideas regarding the relationship between time and consciousness are used to investigate time intensive observational art making.I consider the path beyond postmodernism; what does the “post-postmodernist” landscape consist of? What language can we use? I investigate how an understanding of complexity theory and emergence can forge better and more fruitful relationships with other disciplines, and strengthen the case for representational work. I look at the developing understanding of metamodernism and how it can be used as a tool to construct a more creative, ecological and mutually beneficial society.