Jeannie creates works that sit at the intersection between drawing, sculpture and installation.
Jeannie's ‘Lifting the Drawing off the page’ project utilises the gallery wall as primary material, as ‘ground’. The work explores relationships between drawing, installation and performance with a new set of rules, systems, materials and measurements. These works explore the line as a physical entity. Where there is separation between the line and the ‘ground’ to create transient, and un- fixed drawings to suggest fluidity of space, boundaries and barriers. Where form and scale and space relate to the body and where the separation between line and ‘ground’ enables each line to gently move in response to viewers movement and environmental draughts.
Works, Interrupting a Line, In the Round and Stretching a Line are shifting drawings that decline from order to disorder throughout an exhibition. Other works include solid forms as space and surface. The sculptural wall drawings, Betwixt and Between and Sympathy of Sisyphus incorporate ladders as metaphors for unstable propositions.
Jeannie began working consistently in the studio from 2009, Initially obsessed with paper, the a4 document as a symbol of democracy, her experimental and process driven practice included shredding, burning, tearing, spiking and obliterating, to shift value and meaning from form to substance to create material for works that revalued material and perceptions, often to express the tension between fragility and (illusions of) solidity.
Many works where created, including the HARD GRAPH series and site specific works; Rising Tides at ASPEX gallery, The Security Blanket of Beadle and Dom curated by OVADA, and Lines of Passage at Salisbury Arts Centre.
Group shows include, Ash Steps in Preparing the Site at Bank Gallery, Whitechapel, Sculpture Making Machine in the Void Open Sculpture Show and Found, Woolff Gallery, Home, Spikeit at Aspex Gallery, Solo exhibitions include When Contents Become Form at Arybyte Gallery and Ubiquitous Materials curated by Dr Outi Reemes at South Hill Park.
"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
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 of 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, developed through research and interventions on the high street resulted in an interactive artwork on the 72 meters of hoardings. The work explored the contested demolition of the brutalist, Tricorn building. The work was featured in a Design Awards Conference and profiled in international journals. In 2007 her ACE funded SPIKEIT project worked with office workers across the public and private and third sectors and culminated in the workplay exhibition with works from the series subsequently exhibited in many group exhibitions across the region.
This website contains a selection of projects and artworks. Please contact for further details of works and projects including back catalogue, working sketches and drawings.
Download Jeannie Driver's CV here