“We stand at the threshold…the limit, the frontier of death as if from the inside."*
Much of my work responds to my own experience of the unstable emotional states of grief, trauma, and anxiety, as well as dealing with the physical pain of chronic Rheumatoid Arthritis, I am inviting the audience to acknowledge spaces of discomfort and non-conformity.
“We stand at the threshold…the limit, the frontier of death as if from the inside."*
I acknowledge my own identity as an older female who has lived with chronic disability and who is challenged with panic attacks, to allow for the ‘edge’ within my work to encourage conversations about this survival/anxiety borderline so prevalent within contemporary society.
* Griselda Pollock. Art/Trauma/Representation. Parallax. 2009 Vol 15, No 1, P 40
Jacqui Driver is a Sydney based artist, working in installation via the printmaking medium of lithography. Driver is currently studying for a Master’s by Research at UNSW, with a research scholarship from UNSW aligned with the project. Driver is a current casual academic, teaching printmaking across three institutions, NAS, School of Art& Design, UNSW and ACU.
Driver explores the physical landscape, using the natural gaps and voids within it to become metaphors for the liminal states of anxiety. Jacqui observes the challenging perspectives of these spaces whilst acknowledging her identity as an older female living with chronic Rheumatoid Arthritis along with the incessant demands of motherhood. Jacqui’s approach is experimental using installation practices to challenge the way an audience views her work. Driver states, “I use the ‘edge’ within my work to encourage conversations about this survival/anxiety borderline so prevalent within contemporary society. I observe these perspectives and the vertiginous edge of rocky headlands, they become like a history of my layered emotions, an ‘othered’ place which reflects my underlying influences, they populate my memories while giving rise to my anxieties.” Her work, plays between the physical perspective of landscape and the emotional ways of perceiving it, using panels/frames to form a matrix to allow for the scale required for warping landscapes, abstracting the visual representation within her multi-panelled work, then utilising other elements of fabric or sound to shift the audiences focus. This results in a questioning of the role of a contemporary print installation and the way with which perspective can be carried out both within the image and throughout its installation space.
Much of my work responds to my own experience of the unstable emotional states of grief, trauma, and anxiety, as well as dealing with the physical pain of chronic Rheumatoid Arthritis, I am inviting the audience to acknowledge spaces of discomfort and non-conformity.
“We stand at the threshold…the limit, the frontier of death as if from the inside."*
I acknowledge my own identity as an older female who has lived with chronic disability and who is challenged with panic attacks, to allow for the ‘edge’ within my work to encourage conversations about this survival/anxiety borderline so prevalent within contemporary society.
* Griselda Pollock. Art/Trauma/Representation. Parallax. 2009 Vol 15, No 1, P 40
Jacqui Driver is a Sydney based artist, working in installation via the printmaking medium of lithography. Driver is currently studying for a Master’s by Research at UNSW, with a research scholarship from UNSW aligned with the project. Driver is a current casual academic, teaching printmaking across three institutions, NAS, School of Art& Design, UNSW and ACU.
Driver explores the physical landscape, using the natural gaps and voids within it to become metaphors for the liminal states of anxiety. Jacqui observes the challenging perspectives of these spaces whilst acknowledging her identity as an older female living with chronic Rheumatoid Arthritis along with the incessant demands of motherhood. Jacqui’s approach is experimental using installation practices to challenge the way an audience views her work. Driver states, “I use the ‘edge’ within my work to encourage conversations about this survival/anxiety borderline so prevalent within contemporary society. I observe these perspectives and the vertiginous edge of rocky headlands, they become like a history of my layered emotions, an ‘othered’ place which reflects my underlying influences, they populate my memories while giving rise to my anxieties.” Her work, plays between the physical perspective of landscape and the emotional ways of perceiving it, using panels/frames to form a matrix to allow for the scale required for warping landscapes, abstracting the visual representation within her multi-panelled work, then utilising other elements of fabric or sound to shift the audiences focus. This results in a questioning of the role of a contemporary print installation and the way with which perspective can be carried out both within the image and throughout its installation space.
