© Jennifer Sirey

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Jennifer Sirey

Brooklyn, New York

Artist Statement

A glass tank is constructed, often integrating drilled holes and blown glass or found-object intrusions. It is filled to a predetermined level with a mixture of ‘mother culture’ and wine or sake, then tilted until the surface level takes on a geometric shape, intersecting with monofilament rings attached inside the glass. “The mother” or acetobacter begins to form, accelerating fermentation and converting wine into vinegar. A translucent skin is cast upon the armatures, making a record of the surface level, and eventually becomes a thick polygonal plane. Once the membrane reaches a desired thickness, the tank is then filled with more wine, tilted to the next predetermined level and left to grow a new ‘mother.’ When all of the layers are finished growing, the tank is carefully flushed and filled with water and white vinegar, leaving the biological constructions clearly visible. Inside the finished works, submerged microbes lie torpid and alive. For me, the art object inherently evokes a psychic connection. I imagine the sculptures, grounded and serene, presenting their geometries. They are strong enough to stand exposed, mirroring an aspect of the human experience. I think about the inside of the body which is in many ways just as mysterious as outer space. A common cliche, “beauty is on the inside” would always make me think, “what's it like there, on the inside.” I expect that it would contain a fundamental mathematical perfection that exists in all of us. Organic chemistry shows us that this is in fact true; on the molecular level and through advances in biotechnology, we can now see the genetic codes of microbes, with us by the multitudes, inside and out. Fluctuating between physical/architectural space and imagined supernatural space, I regard the sculpture as organic (or living) architecture. While testing the physical boundaries of materials and containment, the works contain worlds and at the same time, are immortal bodies. In recent works there is a less rigid, more dynamic presence where “the mother” is free floating, as compared to earlier work, where skins are fully sutured in place. Also new is the use of wax which is poured on water, similarly casting onto monofilament rings and setting. It's a collaboration where I meticulously set parameters for substances to behave naturally in an event that I no longer have control over. The sculptures literally grow into themselves. Pedestals behave like clothing that adorns while pointing to the historical significance of thrones that elevate and display. Ancient examples support mortal and immortal greatness. A tank of bacterial overgrowth and a wax-on-water event is the displayed object of admiration. This causes the viewer to question their idea of beauty. Bacterial slabs are sanguine freak flags waving and flaunting.

© Jennifer Sirey

Jennifer Sirey's Portfolio

© Jennifer Sirey

Artist Biography

Jennifer Sirey Born in Brooklyn, NY 1966. Lives and Works in Brooklyn, NY. Education: Nassau Community College, Uniondale, NY (1984-1986) School Of Visual Arts, NY (BFA with Honors, 1990) Residencies: Yaddo, Saratoga Springs, NY. April, 2020 (postponed) Yaddo, Saratoga Springs, NY. January, 2012 Yaddo, Saratoga Springs, NY. January, 2015 Solo Exhibitions: “Decoherence” (two person w/ Steve DiBenedetto) Real Estate Fine Art, Brooklyn, NY. March, 2019. “Bind/Mody”, Platform Project Space, Brooklyn, NY March, 2018. Feature Inc. New York, NY. February 2013. Feature Inc. New York, NY. Upfront Project Space, March, 2012. Kevin Bruk Gallery, Miami, Florida. May, 2007. Feature, New York, NY. November, 1993. Group Exhibitions: “I Contain Multitudes”, (three person) Klaus Von Nichtssagend, NY, January 2021. “The Sublime Line”, curated by Susannah Auferoth, Readywipe Gallery, Holyoke MA, Nov. 2020. “Cult of the Crimson Queen”, curated by Michelle Segre, Ceysson & Benetiere, NY, Feb. 2020. “Parameters”, curated by Daniel Rosenbaum, The Clemente Center, NY June, 2019. “The Big Ringer”, curated by Andrew Guenther, Andrew Edlin Gallery, NY. April 2019. “They're Made Out of Meat”, curated by Jennifer Coates, Platform Project Space, NY, Jan. 2019 “Music Seen”, LabSpace, Hillsdale, NY. September 2017. “Rough Cut” curated by Jennifer Samet and Elizabeth Hazan, Morgan Lehman Gallery, Dec. 2015. “No Name”, curated by Courtney Childress & Aaron Krach, On Stellar Rays, NY. June, 2013. "Thing", curated by Susan Jennings, Outdoor Sculpture, Cornwall, CT. July, 2012. “Extreme Materials 2”, Memorial Art Gallery, Rochester NY. 2011. “I Am Not Monogamous I Heart Poetry”, Feature Inc., NY. June 2011. “Salonnaturenoir” 110 West 14 Street NY, NY. December 2010. “Pod”, curated by Brenna Beirne, Prospect Range, Brooklyn, NY. 2009. “Grass and Honey”, curated by David Shaw, Champion Fine Art, Brooklyn, NY. May, 2004. “You”, curated by Lisa Kirk, NY. March, 2003. “Bomb,” curated by Janine Gordon, Brooklyn Front, NY. January, 2002. “Being There,” Derek Eller Gallery, NY. June, 2001. “The Cat’s Away,” Sara Meltzer Gallery, NY. June, 2001. "New York Projects," curated by Luke Dowd, Delfina Project Space, London. July, 2000. "Aintings and Rawings," Feature, NY. May, 2000. "Parasite," curated by Mike Ballou and Aaron Namesworth, Four Walls, Brooklyn, NY. May 1997. "Doggie Style," curated by Rick Prol, NY. September, 1995. "Hyper-femininity," curated by Annie Heron, Tourniquet, NY. December, 1994. "R.A.S.: Nothing to Report," curated by Gianni Romano, Gallerie Analix, Geneva, Switzerland,1994. "Miahaus," curated by Gottfried Tollman, Thread Waxing Space, NY. July, 1992. "Home for June," curated by Erik Oppenheim, Home for Contemporary Art, NY.June, 1992. "Sockeye," curated by Tie Dang, CSC Theatre, NY. November, 1990. Group Exhibition, curated by Peter Dudeck, Visual Arts Gallery, NY. September, 1990. Other: Performance at "Artist Project," public art festival, Cardiff, Wales. September, 1994. Performance in conjunction with Lily van der Stokker exhibition, Feature, NY. April, 1994 Curatorial project, "Garden," Gallery 93, 93 Crosby St. NY. February, 1993. Project, Bomb Magazine, p.85, Winter, 1992. Bibliography: “I Contain Multitudes”, featuring works by: Jules Gimbrone, Tiffany Jaeyeon Shin and Jennifer Sirey Klausgallery.cloud https://www.klausgallery.cloud/i-contain-multitudes END Jennifer Sirey, February 4 2021, https://empiricalnonsense.today/end/jennifer-sirey Shanti Escalante-De Mattei, “I Contain Multitudes at Klaus von Nichtssagend Gallery” The Drunken Canal, February 2021 Kabat, Jennifer, “Pretty on The Inside”, The Weeklings, June 2013 Insonia, Elizabeth, 2013 “Sleeping Immortals”, Huffington Post, May 28, 2011 "Gorkys Granddaughter” May 9, 2013: http://www.gorkysgranddaughter.com/2013/03/ Rafferty, "Extreme Materials 2", Rochester City Newspaper, Oct 11, 2011 Ammirati, Domenick “You” Artforum, critic’s picks, October 16, 2003 Ken Johnson, “Being There,” The New York Times, July 13, 2001. Moffatt, Laura, "New York Projects," Art Monthly, N.239, p. 34-5, September, 2000. Wilsher, Mark, "New York Projects," What’s On , August, 16, 2000. Henry, Max, “Feature Creatures,” Artnet.com, June,10, 2000. Rien a Signaler, catalogue for exhibition, Gallerie Analix, Geneva Switzerland,1994. Romano, Gianni, "Vision: USA," Zoom, N.128, p.2, March/April, 1994. Romano, Gianni, "In and Out Liquid Architectures," Temporale: Rivista D' Arte e Di Cultura, N.31, pp 34-37, 1993. Erwin, John, "Join the Tour," Flash Art, p. 110. June, 1993. Cotter, Holland, "Miauhaus," The New York Times, Section C-24, August 7, 1992.



© Jennifer Sirey

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