Artist Statement
Jordan Acker Anderson is interested in our interconnectedness. She believes that through the development of inner, personal peace, the reality of collective peace can be achieved. The practice of painting allows personal transformation to occur while responding to tangible change.
Through painting, she embraces this essential notion of peace by looking at current global affairs as considered content. She embeds her response to social injustices through symbolic, habitual gestures, which become a visual record of her contemplation.
For example, Rebuttal: 20 Minutes of Action x Twenty is a meditation on the words of Brock Turner’s father from the 2016 sexual assault case in California. Brock Turner’s father asked the judge to show leniency for his son over “twenty minutes of action,” which would be more accurately described as twenty minutes of horrific violence. In twenty painting sessions of twenty-minute meditations, the work was created as a vigil for the survivor.
The compositions are a call and response between states of disruption and integration. She purposefully practices detachment from previous layers of work to be in relationship with our impermanence. She offers this work as an invitation for greater personal reflection and collective contemplation of peace.
Jordan Acker Anderson is interested in our interconnectedness. She believes that through the development of inner, personal peace, the reality of collective peace can be achieved. The practice of painting allows personal transformation to occur while responding to tangible change.
Through painting, she embraces this essential notion of peace by looking at current global affairs as considered content. She embeds her response to social injustices through symbolic, habitual gestures, which become a visual record of her contemplation.
For example, Rebuttal: 20 Minutes of Action x Twenty is a meditation on the words of Brock Turner’s father from the 2016 sexual assault case in California. Brock Turner’s father asked the judge to show leniency for his son over “twenty minutes of action,” which would be more accurately described as twenty minutes of horrific violence. In twenty painting sessions of twenty-minute meditations, the work was created as a vigil for the survivor.
The compositions are a call and response between states of disruption and integration. She purposefully practices detachment from previous layers of work to be in relationship with our impermanence. She offers this work as an invitation for greater personal reflection and collective contemplation of peace.
