I recently finished a group of four paintings for my exhibition at Southeastern Center for Contemporary Art (SECCA), and during the time I made the last two of the paintings, I shot a photo every ten seconds to document the process. Below is the time-lapse video of the entire process over the course of six weeks. From start to finish, you’ll see how I put together “Of Stones and Earth and Air” (on the left) and “Unhearable Sounds” (on the right). See these paintings and the others at “I must love you very much,” my solo exhibit at SECCA, in Winston-Salem, NC September 17 – October 13. The opening reception takes place on Thursday September 19, from 6:00-8:00 PM, with an artist talk at 7:00 PM. Artwork is available for purchase. Contact me by phone (336) 283-0185 or email if you’d like to acquire these paintings for your collection.
Read about these paintings and the exhibit HERE.
See a video documenting the process of stretching one of these massive canvases HERE.
The finished paintings:
It’s my pleasure to announce that my first solo museum show opens at SECCA in Winston-Salem next month. Read on for the press release with all the juicy details…
(August 20, 2019, Winston-Salem, NC) Award-winning painter Jessica Singerman announces her exhibit of paintings entitled I MUST LOVE YOU VERY MUCH, opening at the Southeastern Center for Contemporary Art (SECCA) on September 17 and continuing through October 13. The opening reception takes place on Thursday September 19, from 6:00-8:00 PM, with an artist talk at 7:00 PM. Artwork will be available for purchase.
In Singerman’s monumental paintings, layered shapes meet muscular paint handling and a bold use of color to evoke a vast landscape and memories of time spent in the outdoors.
Says Singerman of these paintings, “There’s a line from a Mary Oliver poem that goes “If you have ever gone to the woods with me, I must love you very much.” Her writing cuts to the essential about what matters and what I hope to share in my work. It feels especially poignant these days – our world feels crazy and I’m afraid to lose the lands I love so much. One of my favorite such places is Pilot Mountain State Park. It inspires my work with its beauty as it overlooks the landscape surrounding it. This group of paintings came from time I spent hiking there with my family – views from the trail-side and of a pastoral landscape – not wild, but full of a vast energy nonetheless.
Mary Oliver’s writing encapsulates something essential about the human condition and about our experience in nature. If my paintings could speak, I like to think Mary’s poetry is how they would speak. Or rather, I hope that my paintings get close to the kind of transcendence of her poetry. Marks and color that transcend being and take the viewer to another place – a memory perhaps – and spur them to reflect on what it means to be human and on our relationship to nature. In any case, “if you have ever gone to the woods with me, I must love you very much.”
Arts writer Michael Solender wrote in the Charlotte Observer, “Singerman’s approach to her work and her outlook on life brings a broad perspective as a product of a bicultural upbringing. Her mother is French and her father is American.(…) Her work offers explosions of color, form and light conjuring imagery of motion and depth.”
About the artist: A resident of North Carolina since 1980, Jessica Singerman lived alternatively in France and the United States during her early life. Singerman earned her BA with Highest Honors in 2002 from the College of William & Mary, Virginia, and her Masters of Fine Arts in 2004 from the University of Delaware while on a fellowship. Her watercolors are the subject of a book published in 2017, Little Watercolor Squares, and her award-winning paintings and drawings are exhibited and collected internationally. Singerman lives and works in Winston-Salem, North Carolina. For more information visit www.jessicasingerman.com.
SOUTHEASTERN CENTER FOR CONTEMPORARY ART, including I MUST LOVE YOU VERY MUCH, by Jessica Singerman, September 17 – October 13. Opening reception Thursday September 19, 6:00-8:00 PM, and artist talk at 7:00 PM.
750 Marguerite Dr, Winston-Salem, NC 27106, www.secca.org, 336.725.1904
A couple of weeks ago, 88.5 WFDD Public Radio ran their Radio Camp at Wake Forest University, and invited me to participate in their interviews.
Radio Camp invited me to talk about what it is I do as an artist, and my interviewer Aida did a great job researching me and my work in preparation for our discussion. Aida and I spoke about my background, my practice as an artist, artist stereotypes, and the relationship between my artwork and my experience outdoors. We also talk specifically about my Paper Mountain project, the monumental installation of 1200 cranes I folded and suspended from the ceiling last spring at Elder Gallery of Contemporary Art. She edited our conversation into a 4 minute piece you can listen to HERE. I’m really happy with how the interview turned out. Thank you Aida and thank you 88.5 WFDD!
“Radio Camp is a week-long, summer enrichment day camp for middle school students interested in technology, journalism, and the exciting world of radio! Over the week, students learn the basics of audio recording in the studio and in the field; how to conduct an interview; how to edit sound on computers into a news story; and the other skills needed to write, record, edit, and create stories for radio broadcast.”
Something neat I found on the internet this week:
Photographs taken behind the scenes by Sylvain Sorgato, an artist/curator for the French paper Libération. These photos document the unseen side of exhibiting… the work that goes into installing and de-installing art exhibits. See them HERE.
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Richard Diebenkorn is one of my painting heroes. I love the way he breaks up the space of a sheet of paper or canvas, his use of color, the way he allows the work or history of a piece to show, and how he worked both in representation and pure abstraction. He had some ideas he kept in mind when starting new work, and I keep a copy of these tacked up in my studio. Whether you’re an artist or not, what do these mean to you?
“Notes to myself on beginning a painting” by Richard Diebenkorn
I’m fascinated by the wind. Cultures create all sorts of stories to try and make sense of the wind and how it affects us. My grandparents lived in Caen, France for a while when I was little. It’s a very windy place, and I will always remember how the wind there made me feel. It tossed me around, made me feel little, and made me feel generally uneasy. On the other hand, winds clean the air, carry scents, and even create power with wind turbines.
I made these paintings as I thought of the wind: how it feels when we’re outside when it’s hot or cold, how it shapes the earth…
There’s a strong wind called Le Mistral in the south of France.
According to popular culture throughout history, this wind has been accused of everything from making people crazy to inciting murder. So in that vein, here’s an interesting tidbit I found this week… Van Gogh, who famously lived in the south of France, maybe didn’t commit suicide. Recent forensic research shows that he may have been instead murdered by a local group of kids who used to bully him… Read more about why this could be true, how the story of his suicide came about, and why a lot of folks are angry about it on the Charmed Studio and on Vanity Fair.
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I’ve just gotten back from a trip with my family to France, and I’m jumping right into the thick of it: TITLING PAINTINGS. Titling artworks inspires dread in the hearts of many artists. How do we put words to a thing that we don’t have the words to describe? Isn’t this why we work in visual media anyway? Kidding aside though, while titling doesn’t necessarily come easily to me, I have a process for coming up with titles. I read Mary Oliver’s poetry and take note of any poems, phrases or particular words that jump out at me. I keep a little notebook of these words and phrases and then either use those as titles, or come up with titles by riffing off her work. Her writing cuts to the essential about what I want to express in my work. I love the way her poem below “Mysteries, Yes” encapsulates the myriad feelings of wonder we can feel as we go about our lives.
If you found this interesting, you’ll like my post: 11 things athletes do that will make you a better artist
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In the fall of 2018, The College of William & Mary in Virginia, my alma mater, invited me to give a talk during the “100 Years of Women” anniversary exhibit. The talk was part of the Department of Art and Art History’s Alumni Speaker Series. It was a humbling experience to give a talk in the very lecture hall where I took my first art history survey class as a freshman in 1998.
I spoke about how motherhood spurred me to get serious about my art practice, how spending time in the outdoors fuels me and my work, my art-making process, some of the stories behind my work, and why art matters. Watch the talk below.
You can watch my other talks here:
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