sculpture, installation, print
In OTON Jennifer Jordan connects large-format cardboard rolls with pocket-like stitched fabric bodies. She removes typographic imprints from the former rolls of packaging and translates letters into linoleum prints, which reappear on fabric panels and wall reliefs. The wordplay OTON also springs from the inscription of one of these objects – that the typographic O is found again when looking through these rolls is just one of many relationships.
Jordan’s works relativize the relation between floor, walls, and ceiling. It is the floating, colored volumes that determine the proportions of the space and no longer the space that determines a supposed order. Her works therefore oscillate between fixed and loose attributes, negotiating molding and counterweights, surfaces and volumes. Each of the positions raises fundamental questions about pendulum effect, weight and counter-weight, lightness and heaviness.
The tubes cut through the space, creating a spatial distortion that turns the material into something corporeal. The vertical and horizontal arrangement set the body-objects in movement, while simultaneously giving the space a clear structure. The reciprocal influence of different materials is an eminent component of Jordan’s work. It is the act of interrelation that produces the form and surface as well as allowing openings and vistas. Finally, it is about the fundamental sculptural question of tension and gravity, which are in a direct sense airily negotiated and almost playfully appropriated.
