Artist Statement

Speculative Abstract Rainbow-scapes. A shimmering aesthetic.

I am primarily a painter, but I also work in ikebana, video, sumi, and installation. The central thread of the practice is an expression of the aliveness and harmony of the natural world. I am interested in cultivating a felt sense of beauty in myself and in the viewer. In ikebana the materials are trimmed and arranged to show their natural beauty, to emphasize their line or shape, and to showcase their unique characteristics. The final arrangement activates the space and helps the viewer to see not only the beauty of the plants themselves but also the elegance of the space they create together. This type of harmony is somatic, producing a bodily sensation. Applying these strategies to painting provides generative opportunities, opening new possibilities and activating spacious alternatives.

Thematically, the paintings grow from the various relationships which have produced the Anthropocene.  I present simultaneity as a visual method and theoretical philosophy. The work shows the effects humans have had on the environment while foregrounding our radical interdependence with the living systems of the land. It addresses climate change, natural and environmental disasters, and the epicness of nature through process-responsive gestural painting. Though human caused climate chaos is addressed, rarely does the work contain a human figure, rather, the paintings disrupt the “overrepresentation of Man.” (Sylvia Wynter) Instead, as Anna Lowenhaupt Tsing suggests, “Landscapes are radical tools for decentering human hubris.” The landscapes recenter the preeminence of the entangled landscape.

Formally, the accretion and variety of marks within the paintings coalesce to create an ecology. Flowers and landscapes are depicted through vigorous gestures, small marks, staining, monoprinting, and masking. The paintings have their own aesthetic integrity, combining representation and abstraction, gesture and description, chaos and harmony. Ultimately asking, why is the world beautiful?



Jennifer Lord is a painter, Sogetsu ikebana artist, and taijiquan teacher in the Yang lineage. They received their BA from Naropa University. They study and teach T’ai Chi Ch’uan with Rocky Mountain T’ai Chi Ch’uan. They are a student of Sogetsu Ikebana with Kalapa Ikebana. Their recent solo exhibition “As You Find Yourself in the Verdant Fields with the Sun on Your Face” was held at JuiceBox Gallery. Their concurrent solo exhibition “Actually Paintings” was held at Alto Gallery, in conjunction with “Basically Painting,” which explored the painterly possibilities of digital production. Lord’s work was featured in “Literally Behind,” a group show at Union Hall, and their digital video collaboration with Noah Travis Phillips  was published online by RealityBeach.org and exhibited at Sluice in London. They have a forthcoming collaboration with the MÚSED fashion house, and a duo exhibition opening at Dateline Gallery in June 2021. Born in Salt Lake City, they live, work, and teach in Boulder, Colorado. Their work is held in several private collections.

“Bigger View(s): Earth, Anthropocene, Beauty,” an exhibition curated by Lord will be part of the citywide event One Book One Boulder 2021. A virtual version of Bigger View(s) can be seen at: bit.ly/biggerviews .


email: juniperlord at gmail dot com