Jeannie creates works that sit at the intersection between drawing, sculpture and installation. Her approach is to work in series, projects or thematic "albums". This enables Jeannie to respond to a material, space, or situation creating works imbued with metaphoric symbolism for unstable propositions.
Jeannie's most recent series titled, ‘Lifting the Drawing off the page’ utilises the gallery wall as a 'detached ground' where spikes protrude from the wall to hang liberated charcoaled lines. Where line becomes material. The works explore relationships between drawing, installation and performance with a new set of rules, systems, materials and measurements.
These installed works explore the line as a physical entity. Where there is separation between the line and the ‘ground’ to create transient, un-fixed, 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 an anarchic nod to non-commodification and responsibility to the value of material and stuff. Jeannie’s practice often re-processes or recycles material from one artwork to another.
Works, Interrupting a Line, In the Round and Stretching a Line are shifting drawings that decline from order to disorder throughout an exhibition. These works together with her UNFIXED exhibition and subsequent film WithDraw, were created as part of her ‘Developing Your Creative Practice’ award from Arts Council England 2018-2019.
Jeannie has always been obsessed with paper as a material, as resource, specifically the A4 page as an object of shifting value, loaded with symbolism and metaphor of democracy, life and power.
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. Resulting in the WORKPLAY exhibition and a move to a studio in 2009, where her experimental processes included shredding, burning, tearing, spiking and obliterating, to shift value and meaning from form to substance. These processes creating in material for works that express tension between fragility and (illusions of) solidity.
This can be seen in Jeannie's HARD GRAPH series of works and also site responsive installations including Rising Tides at ASPEX gallery, The Security Blanket of Beadle and Dom curated by OVADA, Oxford and Lines of Passage at Salisbury Arts Centre. Later works include Ash Steps in Preparing the Site at Bank Gallery, Whitechapel, Sculpture Making Machine in the Void Open Sculpture Show and Unavoidable Contents of Life at Woolff Gallery. Solo exhibitions include When Contents Become Form, an installation constructed onsite, shredding London art galleries press releases 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 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.
Please contact for further details of works and projects including back catalogue, working sketches and drawings.
Download Jeannie Driver's CV here