Jennifer Myerscough is a multi-disciplinary artist whose work is rooted in painting. She has recently completed her Master's Degree from Umeå Academy of Fine Arts. Born in Stockholm and raised in Southern California, she currently lives and works in Malmö, Sweden.
Artist Statement, 2016
Within the last few years, a couple books have come out that were titled "Thinking Through Painting". When I first read the title my understanding of it was not to "think about painting” or “analyze painting," but to “think by painting.” The process of painting is a method of thinking.
Painting, I think through what images are, how I understand spaces, ideas of time, and the limits of my perception. My painting extends into drawing, building models, and making moving images. I translate between 2D, 3D and time-based media, focusing on what is gained in the translation. What questions can I uncover through the work? How can I use the limits of my own perception to understand what is beyond it?
My latest solo exhibition was called A straight line to the touch is a circle to the sight. (This phrase comes from book called Flatland by Edwin A. Abbott. His characters are geometric shapes living in a 2-dimensional world, struggling to understand a 3-dimensional character.) In this exhibition I showed three paintings, each named Composition. For this work, I start by drawing ambiguous images of shapes and lines that can be read multiple ways, which I later translate into models made out of paper and tape. The paper I use for the models are photocopies of landscapes. I call these models landskapsstilleben and use them as the subjects for my paintings. The paintings become multiple representations of space compressed into one surface. They are representational images of both the spaces in the images that the models are made out of and the space within the models themselves. They are both the down-scaling of landscapes and the zooming in on the small paper models. This is an ongoing project.
I put time into my paintings, mark making, telling them what they are until our roles change and they take time from me, telling me what they are. My hope is to make work that promotes slow judgment, exposing our prejudice perceptions.
I make my work to think by the process of making and then meet each piece in person. I am more interested in how things are made rather than what or why. Without how there is no what or why. What is how. How is why.