Jane James Affirmative 30 May – 23 June 2018
Affirmative equality noun 1. the state of being equal, especially in status, rights or opportuni7es 2. a symbolic expression of the fact that two quan77es are equal; an equa7on. The idea of equality is broadly considered a fundamental principle of modern democracies. Equality before the law, equal access to educa7on and to services are generally expected by the community. And yet, not all of us can take equality for granted. And when Jane James was crea7ng her previous exhibi7on 'Seman7cs', with a deeply personal meaning and connec7on, there was no sense of certainty about equality and much angst about language. The language that would be used to deny the rights of some to equal treatment, status and rights. And the arguments that some would mount to ques7on whether others are, in fact, equal or perhaps lesser. Language is an important aspect of Jane's work. In her new series 'Affirma7ve' language is used even more overtly and explicitly than before, each image an individual signal or value, together crea7ng meaning. On the surface, Jane's visual language remains the same. Precise, detailed representa7ons of s7cks and rope. Each image, a perfectly balanced composi7on. But the differences are deeper than the similari7es. Where in ‘Seman7cs’ every image was a complete sentence, in ‘Affirma7ve’ each piece is a visual signal that forms part of a larger whole, the rela7onship between individual pieces assured by the con7nuity of rope. There is also a lighter tone to the language, the ropes and s7cks more playfully arranged, pliable and rigid elements entwined but not constrained by knots. Equality would have no meaning without differences. It's self-evident that two iden7cal en77es or objects are the same, it is redundant to assert that they are equal. The concept of equality requires us to recognise differences but also to acknowledge the similari7es and shared aims that demand fair and consistent treatment and equal respect. In the end, we did it. Each survey vote an individual signal, collec7vely crea7ng meaning. Imperfectly, we affirmed that equal considera7on, dignity and respect should be available to all of us. We brought equality a liRle bit closer. Dorota Siarkiewicz
‘E’ (2018) Synthetic polymer on linen 107 x 91 cm $5,500
‘Q’ (2018) Synthetic polymer on linen 91 x 101 cm $5,500
‘U’ (2018) Synthetic polymer on linen 122 x 91 cm $5,500
‘A’ (2018) Synthetic polymer on linen 101 x 91 cm $5,500
‘L’ (2018) Synthetic polymer on linen 122 x 91 cm $5,500
‘I’ (2018) Synthetic polymer on linen 101 x 91 cm $5,500
‘T’ (2018) Synthetic polymer on linen 111 x 91 cm $5,500
‘Y’ (2018) Synthetic polymer on linen 91 x 112 cm $5,500
Affirmative “It was 2015 when I began the series of paintings that made up the ‘Semantics’ exhibition. At that point, the legalisation of same sex marriage seemed a distant thing in Australia. As the exhibition finally went on show, it did so at a pivotal moment in Australia’s history. The coalition government announced its intention to have a voluntary postal survey on same-sex marriage legislation, to be held later that year. As I stood awaiting the announcement of the outcome of the survey on November 15, 2017, it was with no certainty at all about the outcome. With the success of the ‘Yes’ vote, I cried - along with a great number of other Australians across the breadth of the sexual and gender spectrum. It felt like a test of Australia’s maturity, one that we had passed. Finally, after all the acrimony and division, we had made a step forward. This exhibition is a celebration to mark that tentative step.” The series uses modern semaphore as the basis for a choreographed sequence. Conceived as positive and affirming, they are a celebration of balance. The elements dance, supported but not bound by the ropes. There are no knots or ends, but rather a continuum. Calligraphic in form, each element is as vital as another. The shadows form shapes and negative spaces, the rope winds through the visual plane. The paired sticks forming a counterpoint to the sinuous rope. The shadows are made up of transparent overlays of colour giving them a variety of subtle hues. The compositions have strong, theatrical lighting, and each is taken from an actual arrangement - one of my parameters was that the arrangements were physically possible, but each one was very delicately balanced, and a breeze away from collapse. Signaling the word ‘equality’, the works examine layers of meaning and visual symbols, and our ability to decipher them. The title of the exhibition is a reference to the same-sex marriage postal survey conducted in Australia in 2017, and its outcome.
Jane James March, 2018
Jane James CV Education 1986 University of Tasmania, School of Art, Bachelor of Fine Art 1986 University of Tasmania, Faculty of Education, Diploma of Education Residencies 2015 Artist in Residence Science Program, DSITI, Ecosciences Precinct. Brisbane 2016 Sam and Adele Golden Foundation Residency, New York, United States of America. Solo Exhibitions 2017 Semantics, Jan Manton Art, Brisbane, Queeensland 2016 The Rogue‘s Yarn, Jan Manton Art, Brisbane, Queeensland 2014 Bower, Brisbane, Queensland 2012 Nest, Brisbane, Queensland 1998 Bourbon Bluez - Suva, Fiji Selected Group Exhibitions 2017 Thirteenth Annual Artists Show, Colville Gallery, Hobart, Tasmania 2017 Made in Paint, Sam and Adele Golden Foundation Gallery, New York 2016 Waterhouse Natural Science Art Prize, South Australian Museum, Adelaide, South Australia 2015 Data as Art, Webb Centre, Griffith University, Brisbane Queesnsland 2015 Art Meets Science, EcoSciences Precinct, Brisbane, Queensland 2014 Art Meets Science, EcoSciences Precinct, Brisbane, Queensland 2012 Art for Sharks, Bleeding Heart Gallery, Brisbane, Queensland 2009 Art for Sharks, Bleeding Heart Gallery, Brisbane, Queensland 2009 Sunshine Coast Art Prize, Caloundra Regional Art Gallery, Queensland 2009 Marine Visions III, Retrospect Gallery, Byron Bay, NSW 2008 The Relationship Between Humanity & The Sea”, ANL Maritime Art Prize - Melbourne 2006 Australian Society of Marine Artists National Exhibition - Maritime Museum, Queensland 2006 ANL Maritime Art Prize, Melbourne, Australia 2005 Joint Exhibition - Australian National Maritime Museum, Sydney, Australia 2005 Australian Society of Marine Artists National Exhibition - Mosman Gallery, Sydney, Australia 2002 Australian Society of Marine Artists National Exhibition - Maritime Museum, Brisbane, Australia Selected Awards and Prizes 2016 Finalist, Waterhouse Natural History Art Prize 2016 Finalist, Contemporary Art Awards 2016 Peoples Choice Award, Holmes Art Prize 2009 First prize - Fine art and Sculpture “Marine Visions III” 2006 Peoples’ Choice Award - Australian Society of Marine Artists National Exhibition Collections Work held in private collections, Asia, Europe, United States, Africa and Australia.
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