Patti Jordan is an interdisciplinary artist, writer, and educator based in the New York City area. Her studio practice conflates drawing and digital photographic processes and her work has been exhibited in over fifty exhibitions throughout the U.S., England, France, and Korea. Recent Solo Exhibitions were Subfusc held at Flat Tail Press Gallery (Minot, ND) and Visceral Palimpsests at LaGuardia Galleries (Long Island City, NY). Galleries in New York City in which she has exhibited include Leigh Wen Fine Art, Ceres Gallery, La Galeria, and The Phatory. She was interviewed by Sable Smith for NoTofu Magazine’s spring 2014 issue and her drawings are included in the collection of The Drawing Center’s Viewing Program. Jordan has received Honorariums at Flat Tail Press Gallery, Minot State University (Minot, ND), and Lineweight, a drawing exhibition at Truman State University Gallery (Kirksville, MO), and is the recipient of a Ford Foundation Award. She lectures on visual and media culture and is a Contributing Critic for the contemporary art platform, ARTE FUSE. Other online and print publications in which her writings have appeared include Bloomsbury Fashion Central, Intellect Books, AS /Artist Studios, Fashion Mannuscript Magazine, the Women’s Caucus for Art’s International Caucus, and ARTCAT Zine, among others. Jordan holds a Bachelor of Fine Arts with Honors from Pratt Institute and a Master of Fine Arts Summa Cum Laude from Montclair State University. She currently serves on the Leadership Committee of the Women’s Caucus for Art NYC Chapter.

“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)


In the initial stages of image production, I’m reconstituting printer’s ink and pouring and pulling it across a smooth paper surface with a large metal rule. Recurrent imagery resembles hybrid specimens of plant life, insects or bodily viscera. This repetitive action and its ensuing forms connote the layering of present experiences onto erased or invisible histories and play between the extremes of the living and the dead, the animate and the reliquary – palimpsests of viscera. Polarity is echoed in the visual contrasts between black and white, transparency and opacity; this intermediary space that these polarities co-inhabit is a domain I’m actively investigating. To explore archival processes and to expand upon notions of a middle-realm, I photo-capture and digitally invert original drawings to collect and catalog versos of the completed works.

In the act of naming, titles are often comprised of verb and noun, linking process to action and the resulting image to an object or “bi-product” of the primary action. I often denote classifications after the phrase to underscore scientific references and to subvert the laden emotions implied in the initial catchword. Pseudo-science thus dubiously functions as a subtext to cloak themes of deception and desire. In furthering the invocation of concepts of transience and unpredictability or implied transitions from the corporeal to the spiritual, I look to place the works within larger frameworks of inquiry. These dual-coded messages, 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 the viewer is then emphasized.