Lot 47 - Jennifer Nieuwland - Brimming
Watercolour, Oil and Acrylic on Paper
Signed on Verso
Curated by Louise Fitzjohn
Jennifer Nieuwland born in 1977, lives and works in London. She is Dutch by nationality and spent her formative years in Milan, Italy. She was mostly self-taught before embarking on an MA in Fine Art at City and Guilds of London Art School, completed in October 2021. This resulted in a marked shift in her practice, which now focuses on exploring bodily memory and the sensory. She has been shortlisted for a variety of prizes such as the Studio West Now Introducing 2022 prize, the ING Discerning Eye and the Jacksons open painting prize. Since completing her MA, she has been selected for various collective shows in London and Margate and for the cover of Ache Magazine being released in 2023.
City and Guilds of London Art School MA Fine Art (2019-2021)
2022 Now Introducing 2022, Studio West gallery, London
2022 Matrescence, Liminal Gallery, Margate
2022 Fissured Realms, D Contemporary, London
2022 I felt That..., The Tub Hackney, London
2022 Oh My! What Lovely Basket of Fruit!, New Normal Projects, Netil House, London
Statement about AOAP Submitted Artworks
My practice explores physical and psychological experiences rooted in bodily memory. It seeks to reflect a visceral encounter with the world and to evoke intense, non-verbal affects, to capture that which cannot be contained by language. Meaning is manifested through metaphor, symbolism and the paint itself.
The body parts in the work are recognisable yet ambiguous forms which act as signifiers for affective states. They stretch, expand, contract, release, drip, react; potentially both architects and victims of the world they inhabit. These isolated and fragmented bodily forms sit in ‘landscapes’ that reflect internal psychic and sensory states. As a whole each painting becomes a physical and psychological site, layered with different emotional and symbolic registers.
I am interested in the potential of paint to embody a felt experience, to encode and activate sensation. This reverberates in the marks, sheens, colours and textures laid in the paint. The material is variously scratched, scumbled, flicked, thinned, thickened. I encourage these formal incidents to morph and cultivate my images, intentionally disrupting the logic of the narrative and enabling new meanings to emerge.
By playing on the tensions between beauty and horror, humour and the abject, I attempt to achieve a charged sense of ambiguity.
The works submitted for this auction use hands and breast-like forms to express remembered sensory states, they originate in pain and traumatic experiences yet also convey resilience, strength and catharsis.
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