The playful and endlessly curious person that is Jacqueline is strongly evidenced in her artistic practice - bold colors, progressive patterns and strong primal forms. Paint on wood, paper, cloth, the odd bit of metal, painted stacked blocks, hand sewn puppets are brought into play, playfully, dynamically. Self taught Rogers likes to get lost in the garden and gather the essential things of life about her.
Jacqueline is the co-founder of the new media company Moving Tales Inc. She is the author of three App/Ebook titles, including the acclaimed 'The Pedlar Lady of Gushing Cross', and the author/illustrator of one of the world’s first interactive ebooks, 'Elly’s Lost & Found Sounds'.
Jacqueline started showing her artwork in gallery contexts in 2011.
Introduction to Jacqueline O Rogers
by Jon Peters
The notion of play is intrinsic to human experience - it is our first vehicle for understanding the world and our position within it, it is the manifestation of imagination made real, and it is the outlet by which the single most important human ability presents itself: our ability to create. Jacqueline O Rogers’ bright, layered paintings are borne from a playful spirit - they are questions asked and answers revealed (slowly). Not about the tangible world but about our own interpretation of it, they are windows to her self-reflection, and mirrors to our own.
A visceral palette of cerulean blue and turquoise, red, yellow, and black, combines over wood panel to form a deeply complex work that recedes deeper into space than expected from the flatness of her picture plane. Through the proximity of bright blue colors and deep reds, the eye buzzes forward and back, as though the picture itself were breathing, a welcoming escape from the jarring reality of lived experience into a nuanced, liminal space that allows for our reflection on it. For the artist, the work “shapes itself around the making of meaning in a subjective world”, and her poetic approach to art making is immediately visible through the honest, soulful treatment of her materials.
It is her process in arriving to her images that is accessed in our viewing of them, layers of paint are accumulated to conflate interpretation, and then sanded down to reveal it once more. This dynamism allows for a work rife with compassionate energy, a voice that invites us enthusiastically to consider what it means to exist, and how creativity is perhaps our only way to grasp at our true meaning. And while the work is certainly abstract, the repeated representation of circles or O’s is a semiological expression of both nothingness and wholeness; a direct link to her mindful meditation on our ability to perceive the world subjectively.
Her impulse to document with sensibility the deep and slow-moving currents of human experience is not without contemporaries. There exists a current focus on the universal in the art world – a return to the idioms and concerns of movements that were often shunned by Contemporary Art. The recent revival of Arte Povera and its current practitioners – artists like Mike Nelson of Great Britain and local practitioners Gareth Moore and Geoffrey Farmer, signals a shift in the conscience of Art with a capital ‘A’; a move away from gloss and glitter into the subtle, accessible, and real. It is within this context O Rogers operates, shirking the idea of art for art’s sake in preference of art for introspection.
Jacqueline O Rogers’ works are compassionate, allegorical manifestations of the uneasy idea of a finite existence. They allow for a suspended temporality that shares a sensibility with poetry and story telling for its transcendent ability to whisk us away. It is once we’ve accepted her invitation that we’re allowed to join in on her playfulness, reminded that we, too, are creative.