Patti Jordan is an artist, author, and arts educator based in the New York City region. Her studio practice conflates drawing and digital processes and her work has been exhibited throughout the United States, England, France, and Korea. Solo Exhibitions include “Subfusc” at Flat Tail Press Gallery (Minot, ND) and “Visceral Palimpsests” at LaGuardia Galleries (LIC, NY). Galleries in New York City include Leigh Wen Fine Art, Ceres Gallery, La Galeria, and The Phatory. Jordan was interviewed by Aniza Jahangir for Alfa Art Gallery and art critic Sable Smith for NoTofu Magazine. She received Honorariums from Flat Tail Press Gallery, Minot State University, and “Lineweight,” a drawing exhibition at Truman State University Gallery, and is the recipient of a Ford Foundation Award. Jordan lectures on visual culture and is Contributing Critic for the contemporary art platform, ARTE FUSE. Her writings also appear in BOMB Magazine, Bloomsbury Fashion Central, Intellect Books, and AS /Artist Studios, among other publications. Jordan earned a Bachelor of Fine Arts with Honors from Pratt Institute and a Master of Fine Arts Summa Cum Laude from Montclair State University. She is a member of the College Art Association, Studio Montclair, and the Women’s Caucus of Art where she serves as a managing editor for the feminist art publication ARTLINES.
“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 metal rule. Recurrent imagery resembles hybrid specimens of plant life, insects, and bodily viscera. This repetitive action and its ensuing forms connote the layering of experiences past and present and play between the extremes of the living and the dead, the animate, and the reliquary – palimpsests of viscera. To explore archival processes and address notions of a middle-realm, I photo-capture and digitally invert my images to collect and catalog versos of the completed works.
Titles are often comprised of verb and noun, linking process to an 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 functions as a subtext to cloak themes of deception and desire. In furthering invocations of transience, unpredictability, or 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 viewer is then emphasized.