Jeanne Ciravolo

Jeanne Ciravolo - Hope . Third Coast National Biennial 2020. K Space Contemporary

Jeanne Ciravolo earned an MFA from the University of Connecticut in 2019 and was awarded the Joan and George Cole Master of Fine Arts Award. In 2020, she won the Walter Feldman Fellowship, juried by Ellen Tani, Assistant Curator at the Institute of Contemporary Art Boston.

Selected exhibitions include Odetta Gallery, LMAK Gallery, and the National Arts Club in New York, NY; ARC Gallery and Woman Made Gallery in Chicago, IL; The Butler Institute of American Art, Youngstown, OH; The Yellowstone Art Museum, Billings, MT; Ann Arbor Art Center, Ann Arbor, MI; and the Indianapolis Art Center, Indianapolis, IN. Her work is featured in Issue #5 of Rejoinder, a publication of the Institute for Research on Women at Rutgers University, in partnership with the Feminist Art Project. Ciravolo’s residencies include the Byrdcliffe Guild in 2018, and a resident Fellowship at the Anderson Center in 2019.

Tell us about the work(s) you have in this exhibition.

Jeanne Ciravolo, Third Coast National, K Space Contemporary

34′ x 52 1/2″
Mixed media and collage on drop cloth

My painting, titled Hope, references The Meeting of Jacob and Rachel by the Italian Renaissance painter Palma Vecchio. In my work I consider the beauty and complications of a kiss– expectations, faith, and betrayal that exist in the relationship between these two characters from my family’s history.

What draws you to your chosen medium, what do you love about it?

I pursue painting and collage as a female act of repair and re-envisioning, employing painted paper as a poultice or bandage. The collage process is evocative of partially understood experience and the fragmented quality of memory. The layers accrue like skin, constructing or obscuring form, or are ripped away, leaving only a trace of harm. Patching, decoupage and stitching, practices associated with women’s labor and craft, complement this reparative practice.

What inspires you to make art?

My work honors the histories of domestic trauma endured by my close female relatives. Through physical and psychological acts of construction and repair— painting, stitching, collage, print and transfer—their personal stories materialize gendered experiences of loss, pain, and hope. Through the study of art historical representations of the female figure, I strive to create images of women that express their full humanity and are beautiful on their own unique terms.

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