Location: Milwaukee, WI
Featured Work: The Woven Edge
Describe your featured work:
When I reflect on this composition, I am satisfied in creating a view that obfuscates another. Both scenes are evident and operating together yet access to see either plainly is difficult. I respond to color and light that appears to advance or emerge from within the image. When I introduce a component, I like to immediately follow it with its complement, or the element that is considered to be its opposite. I started working with the brushstroke as an intentional mark in 2016 with the piece, Rebuttal: 20 Minutes of Action x Twenty, as a way to signify a heartbeat recorded in visual marks. The rebuttal composition was created in twenty sessions of twenty-minutes as a painted vigil for a survivor of sexual assault represented in our national story. In The Woven Edge, the brush sweep is still integral but with the scale shift and dry brush application, it embodies an environmental quality, like wind and water. Another quality of my work is a focus on borders and edges of figuration; I like to establish an intentional distinction between forms while at other times I want to open up that expected boundary or barrier. Following this painting, my current studio questions are: What if it is without a contour? If we could be without the subjective and objective, how does it appear? What can you let go of for something new to arrive? And, how does one confront another inside of the compositional ellipse?
I am interested in our interconnectedness. I believe that through the development of inner, personal peace, the reality of collective peace can be achieved. The practice of painting allows personal transformation to occur while I respond to tangible change. Through painting, I embrace this essential notion of peace by looking at current global affairs as considered content. I embed my response to social injustices through symbolic, habitual gestures, which become a visual record of my contemplation. The compositions are a call and response between states of disruption and integration. I purposefully practice detachment from previous layers of work to be in relationship with our impermanence. I offer my work as an invitation for greater personal reflection and collective contemplation of peace.
What are you making now?
Currently, I have three lines of work in development. The first is a series of paintings that are exploring questions related to buoyancy and simultaneity. I work to establish still movement, meaning movement that appears to be static. I develop competing degrees of contrast in value or color to employ tension and incongruencies. Once I establish discordance, I work to unify the visual relationship. I start with a background of multiple layers of mark and pattern to establish an environment for figuration to occur. This is the second project in my studio, the ongoing preparation of new grounds. Lastly, I am invested in a “One Hundred Days of Summer” photograph series. Photographs capture my observations of daily life and record my moments of intrigue. This slows my engagement with how the day continues to return, so that I am present and mindful of the cyclical nature of time.
I belong to CIVA because…
I appreciate the common interest in aesthetic exploration and interpretation of theological questions and religious experience. I like that the organization crosses denominational identity and invites practitioners from various fields into a shared dialogue. The SEEN Journal is a valuable resource to me for personal discernment related to the thoughts of peers surrounding a given topic. The recent CIVA conference provided a wonderful opportunity to share and receive research and reflections that span personal, academic, and vocational pursuits. Within a short amount of time as a member, I am pleasantly surprised with the ease of connecting with other members in my region, and I look forward to future shared experiences in the organization.
Jordan Acker Anderson serves as Associate Professor of Art and Department Chair for Mount Mary University in Milwaukee, Wisconsin. She is dedicated to teaching studio art and social justice through collaborative learning experiences and human-centered design as service learning. She has an MFA from the University of Iowa in painting and drawing, with a minor emphasis in printmaking. Her undergraduate education was completed at the University of Nebraska Omaha and University of Wyoming.