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in the absence of pattern
2012
Excavated screenprint
38” x 41”each, 50” X 128” installed
First I screened a few layers of transparent base
over the entire paper. I then monoprinted the linear details and then blocks of
color over that. I printed birds in a random pattern and them monotyped flat
colors over that. Then I printed black ink over the entire paper. I then
excavated the print with a solvent, scrubbing back layers to reveal what is
underneath.
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in the absence of pattern
2012
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in the absence of pattern
2012
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in the absence of pattern
2012
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How many experiments must we do?
2012
Archival digital photographs with screenprinted
layers
21.5” x 17.5”
I digitally printed these photographs and then
screen printed over them at Kala Art Institute as an Artist in Residence. It was
a freeing experience to not treat digital prints as finished products.
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How many experiments must we do?
2012
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mandorla
2012
monotype screenprints
7- 19” x 13”
I painted directly onto the screen mesh for each
print and filled with black ink. Each print is unique. In traditional Christian
art the mandorla is used to depict sacred moments and refers to the cosmos.
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mandorla
2012
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mandorla
2012
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pearls
2013
acrylic on plaster
19- 8” x 8“
I applied a thin layer of plaster to a substrate
then I used a stencil to apply another layer of plaster in a dot pattern. I
used acrylic paint and washes over the plaster in an additive and subtractive
method. The title references one of the major diagnostic criteria for
polycystic ovary syndrome (PCOS), the presence of 12 or more ovarian follicles
often giving the appearance of a string of pearls.
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pearls
2013
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pearls
2013
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pearls
2013
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shadows of the sun
2013
Acrylic on plaster
18- 12” x 12” squares, 40” x 124” installed
I applied a thin layer of plaster to a substrate
that I then carved into while wet and then again when dry. I used acrylic paint
over the textures and to create textures.
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shadows of the sun
2013
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shadows of the sun
2013
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searching for heaven in the stars because I miss you
2013
Acrylic, handmade paper and photo transfer
17”x 20”
I used the Dass transfer method to transfer the
image of the star guide over the acrylic painting and the images of a fetus
onto the small squares of handmade paper.
I think the fetus image is appropriated from an old national geographic
but I'm not really sure. The fetus image is manipulated and cropped. I
wanted the coloring to resemble a tintype; small, precious and loved .
There was something about the gesture of the hands in the picture that spoke to
me.
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with one stone
2012
Acrylic marbled handmade
paper, watercolor, pastel and pencil
3- 19” diameter each, 19”
x 64” installed
I marbled this paper using water based paints and
inks mixed with a floating medium. Under the marbling I painted simple
watercolor shapes accentuated by a salt dusting that created some patterns and
texture. The final layer includes pastel and pencil drawing.
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when the
sun has not strength to thaw
2013
Acrylic on plaster
6- 12” x 12” each, 14.5” x 97” installed
I applied a thin layer of plaster to a substrate
that I then carved into while still wet. I did several acrylic washes and
glazes over the textures, filling crevices and wiping the paint away from the
high areas. I repeated the additive and subtractive application of color
several times burnishing the surface in the process. The title references the
first full moon of the year or the beginning of a new cycle.
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when the sun has not strength to thaw
2013
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clump of cells
2013
plastic prescription
bottles
15” diameter each, 144”
x 72” installed, variable
I keep many elements of an installation
after it has been disassembled and often draw upon them for new uses—revising,
remaking, or recombining elements for subsequent pieces. In 2009 for my MFA exhibition I saved, cleaned,
and melted thousands of prescription bottles. I used left over materials
from that exhibition to create these new forms.
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clump of cells
2013
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2 boys
2013
photograms, screenprint
20” x 23”
The three small photograms were constructed in a makeshift darkroom
by stressing photographic paper. A bit of chance was employed when exposing the
photographic paper to cigarette lighters, sparklers, heat, sandpaper, bubbles,
and other tools before processing. I wanted to create camera-less images
without a reference to a specific object. The results are something you might
see in a microscope or a telescope. The analog photograms are printed
digitally. I created a digital negative of one of the photograms and used it to
screenprint the background texture.
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2 boys
2013
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carriage
2012
Acrylic marbled handmade
paper
10- 27” diameter circles, 132” x132” installed
I marbled this paper in a kiddie pool full of
methocellulose. I used water based paints and inks mixed with a floating
medium. I used dish soap as a dispersant on the surface of the
methocellulose. The dispersant allowed me to exploit the natural patterns
created by the chemical reaction. The cell-like patterns are not
desirable in traditional paper marbling but that flaw attracted me to the
medium.
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carriage
2012
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carriage
2012
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carriage
2012
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The circle is
deceptively simple. The eye, the egg, the womb, the Sun. Circular patterns
or structures are reproduced at all levels of existence, from the macrocosm to
the microcosm, constellations to cell division. These works visually explore the mysterious
biological processes of reproduction, growth, and death
creating an analogy between the circle and the cell. My personal
experience with fertility treatments and the commercialization of reproduction has
motivated me to visually explore the usually unseen inner processes of the body
in these works.
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| Rueff West Gallery at Purdue University |
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| Rueff West Gallery at Purdue University |
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| Rueff West Gallery at Purdue University |
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| Rueff West Gallery at Purdue University |
Jasmine Begeske
is an Indiana based artist, photographer and educator. She is a Clinical Instructor of
Educational Studies at Purdue University. She earned her BFA in photography
from Indiana University and her MFA in photography and related media from
Purdue University. She was recently awarded an Individual Artists Grant by the
Indiana Arts Commission. Her work manifests itself through a wide range of
forms - installation, photography, painting, printmaking, bookmaking,
sculptural works or any combination of these.
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| Rueff East Gallery at Purdue University |
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| Rueff East Gallery at Purdue University |
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| Rueff East Gallery at Purdue University |
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| Rueff East Gallery at Purdue University |
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| Rueff East Gallery at Purdue University |
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