Jennifer Koney

Short Artist Statement

With a background in textiles, sculpture, installation art, and painting for over 40 years, I make art in response to the internal and external landscape. My “Images of Sea Level Rise” painting series of large scale resist-and-pour paintings utilizes textile techniques with a painting process that embodies inundation, indeterminacy, and the impacts of sea level rise. The exhibition of that series is a platform for community education and climate activism. Currently, I am exploring landscape inspired encaustic painting.

Long Artist Statement

I believe that art has the power to reveal difficult information before and beyond fear. My large scale, resist-and-pour abstract paintings making up the Images of Sea Level Rise series are based on that premise.

While participating as a member of the “Adapting to Rising Tides” research project (2011-2013) that was charged with assessing the possible impacts of climate change on the San Francisco Bay, I was startled—then shocked— by the initial estimates sea level rise expected locally:  55” by the end of this century. 

My response was to make art and then to use it as a tool for education and community discussion. This painting series of seven life-sized paintings (80” x 32”) each mark and make present a 55” horizon line that gives physical presence to the estimated level of rise of the SF Bay on the Hayward shoreline:  The viewer experiences just what 55” is through each of the paintings. Additionally, the exhibitions of this series offer an opportunity to reveal and discuss the research results through community presentations and discussions. Resources and action steps to help reduce the impacts of sea level rise are offered.

By using a “back door” approach to revealing difficult and challenging information through the vehicle of art, layers of information can unfold to the viewer as they are ready. Viewing itself takes on the role of revelation as it opens the path to learning and action. The images of icebergs and ice sheets intrigue and captivate as a means of deeper engagement.

I use a batik-like process using, among other materials, acrylics and silver-leaf to paint, protect, obscure and reveal images of ice and its melting. The resist-and-pour technique that I developed comes from my experience creating textiles. The painting process itself involves chance and flow thereby embodying the indeterminacy of the impacts of melting ice sheets. The pouring process embodies inundation that is also the subject of the paintings. In doing so, the process and the subject reflect each other.

Art viewing also becomes a process:

Through art

From information to knowing –

Before and beyond fear.