For more extensive artist's bio, articles and list of exhibitions, visit artist(s) website(s). Many of the images displayed on this site are copyrighted, and are used here only for purposes of education or critical review. All rights are reserved by the artists who created the works referenced herein.

Painting is silent poetry, and poetry is painting that speaks. Simonides

Jennifer Presant

Born: 1971, New York, NY
2002 MFA; cum laude, New York Academy of Art, New York, NY
1993 BFA; Washington University, St. Louis, MO
1992 Lorenzo Di Medici Institute, Florence, Italy
Professional Experience:
2008-2011 Adjunct Instructor; Queensborough Community College Courses:
Color Theory, 2-Dimensional Design in Foundation Program
2003 Graduate Teaching Assistant; New York Academy of Art
Course: Painting II

2009 First Prize Summer Exhibition 2009, chosen by Eric Fischl, Anne Strauss and Matthew Flowers
2003, 2004, 2006 Residency Fellowship to attend Vermont Studio Center
2002 Prince of Wales Fellow
2002 O. Aldon James, Jr. Award, National Arts Club, New York, NY
2001, 2002 Merit Scholarship Awards, New York Academy of Art, New York, NY

With an artistic training in figurative realism and a background in graphic design, my paintings unite my interest in the psyche as expressed through the human form and a personal graphic aesthetic. Thematically, my paintings address the complexity of memory, by blurring the lines between recollection, projection, and reality. Each painting becomes a psychological landscape or waking dream, reinforcing the fluid relationships between time, memory and place. The projected image as object, and the notion of projection, is the most dominant visual metaphor pervading the compositions and gives my paintings the look of theater, video and installation art. By merging both real and fictitious images in these painted fictional documentaries, I explore the conflation of our media-saturated lives and our lived reality; we live among images and in many ways as images. Our memories of events have become distorted. With media today, we have grown accustomed to watching ourselves and living from a voyeuristic standpoint. With these paintings, the viewer’s imagination plays an important role in the piece, while also being implicated in the voyeurism depicted.

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