Patti Jordan is an interdisciplinary artist, author, and educator working within the spheres of visual and media culture. She was instrumental in the successful On-air launch of five cable television stations and companies she has worked for include: ABC TV, CNBC TV, Lifetime, Sat.1 Sport & News (Germany) and Fox News. As Co-Associate Chair of Visual Studies at LIM College (NYC), she motivated students toward original visions from initial concept to final production. She has shown in over fifty art exhibitions worldwide. Her Solo Exhibition “Visceral Palimpsests” was held at LaGuardia Galleries and recent works have been shown in NYC galleries Leigh Wen Fine Art, Ceres Gallery, and The Phatory. Her work is included in the drawings collection of the Viewing Program at The Drawing Center (NYC). Jordan was interviewed by Sable Smith for NoTofu Magazine’s spring 2014 issue and by Dania Shihab in 2013 for “One Day You Will Find Me.” She received an Honorarium in 2009 for works in “Lineweight,” a contemporary drawing exhibition at Truman State University Gallery (Kirksville, MO), and is the recipient of a Ford Foundation Award. Jordan lectures on visual and media culture and her writings have appeared in online and print publications for Bloomsbury Fashion Central, Intellect Journal, AS/Artist Studios, Fashion Mannuscript Magazine, the Women’s Caucus for Art International Caucus and ARTCAT Zine. She holds a Bachelor of Fine Arts with Honors from Pratt Institute and a Master of Fine Arts Summa Cum Laude from Montclair State University.
"Working with ink, water, graphite and solvent, Patti Jordan squeegees and pushes ink across the surface of large sheets of Fabriano paper. While not producing delicate soulful swoops with a hand-held Chinese brush, Jordan pushes and pulls her medium, coaxing and building the black ink so that it results in bold, textured and abstractly cratered and rippled layers. Creatures, bones, eyes, limbs, and orifices appear, collide and condense on her horizontal and vertical scroll-like pieces, constructions of the imagination, psyche and random gesture."
Virginia Fabbri Butera, Ph.D. – Curator, “Pictorial Constructions” (2012)
“Patti Jordan is working in a middle-realm: using printer’s inks, she pulls the ink across the paper’s surface to create beautifully rendered swashes of value and then develops them into organic images using a variety of marks and methods. She, too, often uses her work as a springboard for additional work by printing the verso, or negative image of a photographed drawing.”
Marsha Levin-Rojer – Curator, “Drawing Beyond” (2012)
I look to challenge the boundaries of traditional art practices and mediums, specifically those related to the act of drawing. In reinterpreting printmaking processes, I’m pouring and pulling printer’s ink across a smooth paper surface with a large metal rule. The motion is rapid and tension is created by the concurrence of fluidity and precision. After pouring, imagery evolves as the ink pools and silts on the surface. I seek these graphic fluctuations as they contribute to a wide range of evocative forms.
My work connotes science through recurring forms that resemble hybrid specimens of plant life, insects or bodily viscera. Others appear archaeological – excavated bone fragments come to mind. These varied allusions play between the extremes of the living and the dead, the animate and the reliquary. Polarity is echoed in the strong visual contrasts between black and white, transparency and opacity. Drawn simultaneously from both process and phenomena, this intermediary space that these polarities co-inhabit is a domain I’m actively investigating. To expand on this middle-realm, I then photo-capture and digitally invert some of the works.
In titling, I tend to choose compound words or phrases comprised of both verb and noun, linking the process of drawing to an action and the resulting image to an object or “bi-product” of the primary action. Extracting from the vernacular of science, I often denote classifications after the phrase to underscore biologic references and to subvert laden emotions implied in the initial catchword. This dual-coded message, including the visual/verbal exchange between image and text, create undercurrents of meaning that inscribe more complex textual experiences. The direct relationship between text, the rendered image and viewer is then emphasized.