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Jeannie creates works that sit at the intersection between drawing, sculpture and installation. Her work is drawn from an interest in materials and shifting notions of value and perception.

 Jeannie's most recent works explore relationships between drawing, installation and performance with a new set of rules, systems, materials and measurements.  Jeannie has been developing drawing systems to explore perception and where 'line' is material to create transient, 'un-fixed' works that shift in time and space.

This context of the 'unfixed', is both a reaction to the current ‘unfixedness’ and instability of todays world, creating works with a responsibility to the value of material and stuff. Jeannie’s practice often re-processes or recycles material from one artwork to another.  For example recent wall installations are constructed from re processed paper from the Line of Passage installation, and ASH steps from paper collected during teh SPIKEIT project.

Repetitive actions of the destruction, re-processing and the reordering material is the process of her practice, often working on more than work at the same time, each with a different pace depending on the material used.

Her approach is to work in series, or on projects that play with perception to create works imbued with metaphoric symbolism for unstable propositions.

Background
Jeannie has always been obsessed with paper as a material, and resource, specifically the shifting value of the A4 page as both surface and object .

In 2007 Jeannie undertook seven residencies in offices as part of her SPIKE IT project working with office workers to explore work, flow and waste. (ACE- G4A).  In  2009 she moved into a studio where her experimental processes included shredding, burning, tearing, spiking and obliterating, began. These transformations aimed to shift value from the data on the page to the substance and material itself. Reprocessed material presented works that express tension between fragility and (illusions of) solidity. 
This interest is evident in the following works;  Ash Steps, Preparing the Site at Bank Gallery, Sculpture Making Machine,  Void Open Sculpture Show,  Unavoidable Contents of Life at Woolff Gallery.  When Contents Become Form; an installation constructed onsite, shredding London art galleries press releases, Ubiquitous Materials, South Hill Park. HARD GRAPH series, (various exhibitions) Rising Tides, ASPEX gallery, The Security Blanket of Beadle and Dom, Oxford,  Lines of Passage,  Salisbury Arts Centre. 


"Jeannie's work is drawn from an interest in materials and shifting notions of value and perception. The work is appears tactile, and begs to be sensed, touched and experienced."
Anna Vardi curator




Further Info...
Jeannie has been practicing since her BA, 1998, and MA in 2000. Her focus for the first ten years, was socially engaged practice, or New Genre of Public art. Influenced by the theories of Suzanne Lacy and Mary Jane Jacob, and specifically the discourse around the role and relationship between artist, artwork and audience. Through many projects Jeannie developed her methodologies with a focus on contribution and exchange. Projects related to a locality, a space or political issue. Her project, The Colour Happened on the Inside, explored the contested demolition of the brutalist, Tricorn building and resulted in an interactive artwork on the 72 meters of hoardings. The work was featured in a Design Awards Conference and profiled in international journals.

This website contains a selection of projects and artworks. An archive button is at the bottom of the works page for older works. Please contact for further details of works and projects.

Download Jeannie Driver's CV here