JENNA PACKER

JENNA PACKER States of Emergency 15 Feb - 12 Mar 2014

www.milfordgalleries.co.nz

Milford Galleries Dunedin 18 Dowling Street (03) 477 7727 info@milfordhouse.co.nz

Corporate Box (2013/14) acrylic on canvas, stretcher: 1202 x 1604 x 45 mm

1

The Seduction of Zealandia (2013/14) acrylic on canvas, stretcher: 1203 x 1603 x 45 mm

2

The Ascension of the Bankers (2013/14) acrylic on canvas, stretcher: 1204 x 1602 x 45 mm

3

Sons of Adam Smith (2013/14) acrylic on canvas, stretcher: 1203 x 1604 x 45 mm

4

Bread and Circuses (2013/14) acrylic on canvas, stretcher: 1205 x 1601 x 45 mm

5

Wheel of Fortune (2013/14) acrylic on canvas, stretcher: 1204 x 1601 x 45 mm

6

Barber (2014) acrylic on canvas, stretcher: 558 x 713 x 38 mm

7

Riders (2014) acrylic on canvas, stretcher: 559 x 711 x 38 mm

8

Off-grid (2014) acrylic on canvas, stretcher: 559 x 709 x 38 mm

9

Corral (2014) acrylic on canvas, stretcher: 557 x 707 x 38 mm

10

Make-do and Mend (2014) acrylic on canvas, stretcher: 560 x 712 x 38 mm

11

Chess Game (2014) acrylic on canvas, stretcher: 560 x 711 x 38 mm

12

States of Emergency is a major body of work from Dunedin artist Jenna Packer and represents a significant development in her practice. She explores the political, economic and social constructs that shape contemporary society at both global and local levels. Using a rich, metaphoric language, Packer’s paintings confront the viewer with questions about the seen and unseen forces that control our day-to-day lives.

The artist adroitly conflates universal questions of privilege, entitlement, and power with intimate observations of humanity which remain strongly rooted in her own version of regionalism. Packer does not shy away from Otago-specific commentary, and issues surrounding fracking, mining, and de-forestation all rear their heads in States of Emergency. What raises this series far beyond a parochial discussion of current affairs is Packer’s consummate ability to relate these to a system that encompasses nation-states and governments, as well as municipalities and councils.

Central to States of Emergency is Packer’s appropriation of Merrill Lynch’s corporate logo, the bull. Immediately associated with power and aggression, Packer’s bull dominates the canvas. In The Ascension of The Bankers it is a hollow idol, blind to the populace over which it towers. Akin to the Trojan Horse of Greek mythology, it appears initially as a treasure of great price but proves false, providing only protection for those intent on pillage. It looms over the houses of government and the towers of industry and commerce, while its functionaries escape the chaos below. The ‘bull market’ has truly come to pass, complete with collateral damage.

Packer extends this metaphor to the idea of the bull ring or the circus in its original context – a place where stage-managed violence offers catharsis to the multitudes.

Drawing its title from Roman satirist Juvenal (1), Bread and Circuses references the most famous circus of them all, the Coliseum, and also hints at the ill-fated Tower of Babel, a symbol of man’s vanitas. Packer’s outstanding skills of visual story-telling are seen in the way she integrates tiny scenes of the everyman into the overarching, meta-narrative of the painting.

In Bread and Circuses, all roads lead to the stadium and it is the obvious focal point of the work; look more closely however, and the small labours of the masses come into focus. Clustered around fires, sheltering under blue tarpaulins and lining up for soup kitchens, Packer is just as interested in telling the stories of how the ‘precariat’ continues its daily existence as she is in turning a critical gaze on the powermongers.

These paintings are an arresting combination of a strongly visualised concept illustrated with finely-honed techniques. Utilising techniques drawn from fresco painting, the layers of pigment and glaze give each work a luminous quality and the sepia tones Packer chooses reinforce the idea that she is documenting a history, albeit one that may yet come to pass.

Jenna Packer’s States of Emergency is a powerful commentary on New Zealand (and global) society, presented in the artist’s striking language of symbol and story.

As in ‘The Emperor’s New Clothes’, she points, and dares us to see that the ruler is indeed naked.

1. Juvenal, Satire X, lines 10.56-89 “ The mob follows Fortuna and cares for nothing but bread and circuses.” http://en.wikipedia.org/wiki/Satires_of_Juvenal#Satire_X:_Wrong_Desire_is_ the_Source_ of_Suffering. Accessed 5/2/14

EXHIBITION PRICELIST 1

Corporate Box (2013/14)

9,500

2

The Seduction of Zealandia (2013/14)

9,500

3

The Ascension of the Bankers (2013/14)

9,500

4

Sons of Adam Smith (2013/14)

9,500

5

Bread and Circuses (2013/14)

9,500

6

Wheel of Fortune (2013/14)

9,500

7

Barber (2014)

4,000

8

Riders (2014)

4,000

9

Off-grid (2014)

4,000

10 Corral (2014)

4,000

11 Make-do and Mend (2014)

4,000

12 Chess Game (2014)

4,000

All prices are NZD and include GST; Prices are current at the time of the exhibition

JENNA PACKER lives Waitati

The Ascension of the Bankers (2013-14)

Painting metaphorical and alternate histories, Jenna Packer comments on journeys of discovery, evolution, the survival instinct of escape, fragility and the endless possibilities of life.

"Jenna Packer's startling art is unlike that of any other artist active in New Zealand. Her busy, excellently composed scenes depict images of an alternative timeless, time-filled Otago, its coastlines plied with vessels from throughout history and imagination... She gives viewers the feeling of "saudade", that peculiar wistful longing for things that never were but could have been, and lets our minds wander and wonder at this history that may have resulted." (1) Jenna Packer draws on a lifelong interest in history and the telling of it, and in image making. "I am looking at the past in order to find some clues to what is happening, what to expect and how to live it.

This is not just in painting but reading, conversations, thoughts. I keep returning to the period of the 1930’s and to the exodus of people across Europe at the onset on WWII. I want to affirm the fragility and the possibility of life, but the dark shadows which have been in the background – (sometimes as zeppelins or parachutes) keep encroaching further into the pictures." (2) Graduating from Ilam School of Art in 1988 with a Bachelor Fine Arts, Jenna Packer then went on to complete a BA (History) (First-Class Honours) at the University of Canterbury in 1989. Through the 1990’s she continued her education with time spent at Glasgow Print Workshop, Otago Polytechnic, The Slade School of Art (London) & La Rouelle Studio (France). A painter, printmaker and illustrator, Packer has been exhibiting her work since 1990 both within New Zealand and abroad.

(1) (2)

James Dignan, "Art Seen", Otago Daily Times, November 2010 Jenna Packer, Artist Statement, 2009

Jenna Packer 2014 CV P a g e |1

Milford Galleries Dunedin

www.milfordgalleries.co.nz

JENNA PACKER lives Waitati

EDUCATION 1996-97 1996 1995 1992 1989 1988

3 months total) La Rouelle Studio (printmaking), France (July) The Slade School of Art (Fresco), London Otago Polytechnic School of Couture (Couture), Dunedin (March – May) Glasgow Print Workshop (printmaking), Glasgow BA (History) (First-Class Honours), University of Canterbury, Christchurch Bachelor Fine Arts, Ilam School of Art, Christchurch

SELECTED SOLO EXHIBITIONS 2014 2012 2010 2009 2008 2007 2006 1995 1994

TBA, Milford Galleries Dunedin Anchored, Milford Galleries Dunedin Provisioning, Milford Galleries Dunedin A History of Flight, Milford Galleries Dunedin Plant, Gallery on Blueskin, Waitati The Island, Solander, Wellington The Island, Milnes Court Gallery, Port Chalmers Imprints, Ground Essence, Dunedin Moroccan Notebook, Ground Essence, Dunedin Etchings (solo), Ground Essence, Dunedin

SELECTED GROUP EXHIBITIONS 2013

2012 2009 2008 2007

2006 1997 1995 1994

1990

The Review, milford galleries queenstown New Works, Milford Galleries Dunedin The Royal Queenstown Easter Show, milford galleries queenstown The Surreal, Milford Galleries Dunedin Southern Landscape, milford galleries queenstown Etched in Memory, PaperGraphica, Christchurch Opening, Gallery on Blueskin, Waitati The Paper Show, The Artists’ Room, Dunedin Spring Exhibition, Anderson’s Park Art Gallery, Invercargill The Knowne Worlde Illuminated, Salisbury House Art Gallery, Dunedin Impressed Atatoi, Wairarapa Museum of Art and History, Masterton ‘10’, The Print-makers’ Studio, Dunedin Féte de Papier, Maison de Josianne, Génolac, France Three Printmakers, Salamander Gallery, Christchurch Fishing for Camels in the Bush, Arthouse Gallery, Dunedin Exposure II (Invited Dunedin Artists), Applied Art NZ, Christchurch Nakhodka – Dunedin – Otaru, Sister Cities Art Exhibition, Otaru, Japan Five Printmakers, Left Bank Art Gallery, Greymouth Women Show, Arthouse Gallery, Dunedin Printmakers Exhibition, Aigantigue Art Gallery, Timaru Prints: Jenna Packer and Neave Fraser-Davies, CSA Gallery, Christchurch

COLLECTIONS The James Wallace Arts Trust Work held in private collections in NZ, Australia, UK, Canada, France and Italy.

Jenna Packer 2014 CV P a g e |2

Milford Galleries Dunedin

www.milfordgalleries.co.nz