Saturday 10 February 2018

Artwork past and present

Artwork 1993 -2018 Williamsburg Brooklyn to Fenit Tralee.

Irish Landscape ad memories Series 2015 -  2018 oil on canvas 

Mangerton Mountain Irish Landscape and Memories series, 2015 - 2018 oil on paper 


Sisters, Irish Landscape and memories series, 2015 - 2018, oil on paper

Yesterday, Irish Landscape and memories series, 2015 - 2018 mixed media on canvas 2018
Williamsburg Brooklyn series, mixed media on paper, 1989 - 1993 Sold





Penis Cross, Oil on cannvas, Williamsburg Brooklyn series, 1989 - 1993 Sold


Williamsburg Brooklyn series, mixed media on paper, 1989 - 1993 Sold


Williamsburg Brooklyn series, oil on canvas, 1989 - 1993 Sold


Eva, Williamsburg Brooklyn series, Resin on paper, 1989 - 1993 Sold


Eva, Williamsburg Brooklyn series, Resin on paper, 1989 - 1993 Sold

Untitled, Williamsburg Brooklyn series, mixed media on paper, 1989 - 1993 Sold

 Williamsburg Brooklyn series,mixed media on paper, 1989 - 1993 Sold

 Williamsburg Brooklyn series, detail from painting, 1989 - 1993 Sold

 Williamsburg Brooklyn series, detail from oil painting, 1989 - 1993 Sold

 Williamsburg Brooklyn seriesmixed media on paper, 1989 - 1993 Sold

Williamsburg Brooklyn series, detail from oil painting, 1989 - 1993 Sold

Williamsburg Brooklyn series, mixed media on paper, 1989 - 1993 Sold

Williamsburg Brooklyn series, mixed media on paper, 1989 - 1993 Sold

Williamsburg Brooklyn series, mixed media on paper, 1989 - 1993 Sold

Williamsburg Brooklyn series, mixed media on paper, 1989 - 1993 Sold


Friday 26 January 2018

Caves To Canvas Series 2018

My Landscape and Memories Series 2018
The Painting Layer, Below
The Research Layer, Cave entrance in Fenit, Mangerton Mountain, Killarey and Benbulben Mountain County Sligo
The Installation Layer Research and Thoughts
Landscape and memoriesLandscape and memories
Benbulben County Sligo A Lost Son Brian MacNeill history



Benbulben, County Sligo  Acrylic on Board 2018              

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Caves to Canvas 2018

Caves to Canvas Series Jennifer Burke Stack 2018

Caves to Canvas 2018 Jennifer Burke Stack Art 

Caves to Canvas Series Jennifer Burke Stack 2018

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Caves to Canvas Series
Jennifer Burke 2018

Caves to Canvas Series
Jennifer Burke Stack 201ption


Installation Layer Caves to Canvas Series 2018

Installation research and development of ideas.
I have been developing and researching this project since 2013


When I create an Installation there are three stages:

1. The physical stage of the work. The process of creating the work, the exorcising of ideas, demons, giving a voice to the victim to the other. "To meaning and shape to frustration and suffering" - Louise Bourgeois. The materials selected and the forms that will take shape, I have been reading so many interviews of Artists who are influencing my own work at present. "shapes that will provide the viewer with premeditated experiences in order to invoke feelings similar to the victim or oppressor. "When does the physical become the emotional its a circle going around and around" Louise Bourgeois 

2. This is the emotional stage of the work. The Installation is displayed in a public space where the viewer can interact with it or become part of the installation and experience it. The experiences are premeditated  I have a specific set of experiences I want the viewer to have. I want to go further than Louise Bourgeois when she created her Cells, Ann Hamilton is another artist who’s work inspires me to "art"iculate what I am trying to achieve in terms of creating an Installation, I am intrigued by the materials used and relied on to create an environment that stimulates all the senses  auditory, visual, touch and smell. I want to expose the viewer to a world where secrets are exposed. I want the viewer to enter a world "the installation" where their own body becomes part of the Installation and their experience is relying on so many senses, their response will be emotional. The key word is "experience" I want the viewer not just "looking" I want to get a particular emotion after they have had an experience, so to speak. The installation will be in control and will be designed to purposely ignite specific emotions the experiences which will be premeditated. "The viewer would be swept into an awareness beyond that of the normal viewer, intriguing the whole body. I want to bring to the surface the questions we should be asking"  Ann Hamilton.

Katy Kline, the director of the Bowdoin College Museum of Art in Maine, who chose Ann Hamilton for the 1999 Venice Biennale, says of Hamilton, "She invites the viewer into a set of visible and auditory conditions where their entire bodily experience is activated. They are swept into a state of awareness beyond that of the normal viewer. She tries to intrigue the whole body.The second stage is the active stage in this process. The work will take the shape of cubed spaces. The viewer will enter these cube like spaces that will have different materials, that take different forms that the viewer will feel as they pass through these cubes. While some of the viewers are passing through the installation there will be a viewing/voyeur area which allows other viewers to watch the reactions of people as they encounter and navigate their way through the installation.

3. This is the validation of the work. Validating and applying value to the experience. The final stage of the installation is to take the 3D shape and return it to a 2D shape, this is done by opening the installation piece just like opening a box and flattening it ou. Once the installation is "opened" it will then hang on a wall to expose the internal of the work, just like a traditional piece of artwork. The viewer can now look at and review the place that they were part of, now it is an image of their experience, they can reflect and see the innards of the thing.

Below are some photos of my journal, these are rough drawings and notes on installation.

















Thursday 25 January 2018

Benbulben and "the noble six" Paintings for the Irishlandscape and memories series 2015 - 2018



Studies of benbulben in County Sligo



Benbulben acrylic on paper 2018

Benbulben County Sligo 2018

Benbulben, study for The Noble Six Series 2018




Monday 22 January 2018

Practice/study



I have been working on my observation and rendering skills... the below is not a representation of the style of work I focus on and create for Art shows.... I need to do this right now in order to build my rendering and observation skills... going back tonight classic style will help my abstract conceptual work





Charlotte Stack 2018 watercolor sketch #winsorandnewton

Charlotte watercolor and derwent graphitint 2018 #derwentgraphitint #winsorandnewton 

Sunday 21 January 2018

Portrait 2018

#Portrait # svaalumni #jenniferburkestackartist


Portrait Acrylic on paper 2018


Saturday 20 January 2018

Still Life, Fenit.



Acrylic on board...2018/01 Jennifer Burke Stack


Acrylic on board 2018/01 Jennifer Burke Stack

Thursday 18 January 2018

My New York 1986 - 2000

Art Around the Park, Thompson Park, New York, N.Y.

Working in my Studio in Williamsburg Brooklyn


Working in my Apartment 53rd Street, bet 2nd and 3rd Ave, New York


Monday 15 January 2018

The Art of Seeing

David Hockney....


Please note the image below is of a painting by the artist David Hockney.


May Blossom on the Roman Road - 2009 David Hockney


David Hockney’s The big picture series and his YouTube tutorials for lack of a better word, really gives the artist an insight into true observation of the “Subject and taking a 3 D image and placing it onto a 1D surface .... what the artists impression of what they are seeing rather than what the artist is seeing it’s not about making a realistic image one can do that by taking a photograph... it’s about the moment, the atmosphere the interpretation the emotions and it’s these elements that will evoke a reaction from the viewer, it allows the viewer to become part of the narrative.. the final chapter or stage in the artists creation, it all comes together when the viewer stands in front of a finished piece and has an opinion a reaction good or bad. That’s the challenge for the artist to get the viewer to look at something that the viewer is familiar with but in this instance will experience the image/scene/portrait whatever it may be, the viewer looks at it as if for the first time...






http://www.tate.org.uk/whats-on/tate-britain/exhibition/david-hockney




https://youtu.be/cO5rCS6G3XU

Monday 25 December 2017

A Lost Son Brian MacNeill an Irish Tragedy-Irish Civil War... The Betrayed, never to be remembered

Eoin MacNeill was one of the founding fathers of the Irish Free State. With Collins, Griffiths, and WT Cosgrave he grasped the chance the Treaty offered to build a new Ireland. But even at its inception this newly independent state was divided against itself. Where MacNeill saw freedom, republicans saw sell-out and surrender. Ireland descended into civil war. As Eoin MacNeill sat in cabinet directing this war, his own son, Brian, was fighting to destroy the new state. For Brian MacNeill, the war would end with his death in Sligo - at the hands of the army directed by his father. Brian's death cast a long shadow over the MacNeill family. The controversial circumstances of his killing were too painful to examine. 90 years on Brian's nephew, Michael McDowell, goes on a journey to discover what happened that day in September 1922. Did Brian and his five comrades really die in an ambush, as the official version goes, or were they murdered in cold blood by Free State troops? And why was Brian MacNeill, the son of a minister in the Free State government, fighting on the Republican side? What were the forces, events and ideologies that drove him and other Irish men to take up arms against their former comrades - and in Brian's case, members of his own family? Filmed in Sligo and Dublin, the documentary follows Michael's investigation. Piecing together accounts from the military archives, IRA papers, interviews with descendants, and family letters, Michael paints a compelling picture of a family divided and a country riven apart. At its core is the story of Brian MacNeill, the brilliant young medical student whose death goes to the heart of one of Ireland's greatest historical traumas.

Sunday 3 September 2017

Wednesday 3 August 2016

My work with the Shoah Foundation recording interviews with holocaust survivors of WW2, and the correlation between this story and Brian McNeill's story during The Irish Civil War.

I am researching and mulling over the connection between memories and the Irish Landscape. I am currently creating Art based on this. I wanted to continue writing my ideas so that I can continue to refine these ideas so that I can better articulate my ideas. I wanted to document these new ideas and connect the current ideas to my previous work with the Shoah foundation, Visual History Holocaust Survivors and the emotions that work evoked is a definite beginning of where my current ideas began to emerge, I worked in Frankfurt for a film and video Production company, my work was to record/film the interviews of holocaust survivors, who told their story. The impact of listening to and recording the interviews of people who survived the holocaust in Germany during World War 2, reinforced how fragile life is, while at the same time reinforcing how massive each life is, when that life is lost in a tragic and violent manner, there is a residue left with us and the landscape, I have written about my experience when working in Frankfurt and on the interviews in the past. So if you need clarification on this work go to the post my artist statement, which is a bio of my life and work.

Currently I am using the story of Brian MacNeill the son of Eoin McNeill.  I am interested in his relationship with Benbulben in County Sligo. Brian McNeill died on the mountain with his men during the Irish War of Independence. There is a documentary that was aired on RTE about the life of Brian MacNeill and this story moved me so much, the documentary was titled The lost Son, it was told by his gran nephew Michael McDowell former minister for Justice for the FF party.

http://www.rte.ie/tv/programmes/alostson.html


I was very moved by the passion he had when he told this tragic story. A story that was repeated all over Ireland at the time of the War of Independence and our civil war, the tragic aspect of the story is that so many men and women died or had to leave Ireland because they did not want the treaty between Ireland and England at that time, and because they did not agree they were destroyed so to speak, and their families were made to forget them thru shame and intimidation, it's as if they were hidden within the landscape died and buried and forgotten, the landscape held their pain and shame. I am exploring the impact of Brian McNeills(and all the others who died or had to be banished from Ireland) relationship with the landscape in particular Benbulben where he and his men sought refuge and protection from the Soldiers, who eventually killed (them)him. I want to examine the impact that tragedy had on our landscape. I am examining the human emotions left behind after betrayal, bitterness, severe pain from the loss of someone to death.but then their families were silenced, by fear and shame. Etc, I am using the landscape to personify these emotions and to somehow answer the why's to these emotions, the unfairness of Brian McNeills death, my blog goes into more detail. When I previously worked in the Film and Video production industry, I worked in Frankfurt, Germany for ACI - Medienproduktionsgesellschaft mbH, Herrn Achim Ehlert Ingolstädter Str.38 60316 FRANKFURT One of the projects I worked on was recording interviews of holocost survivors in Frankfurt and the outer towns.. All of the recordings can be seen in the smithsonian museums in Washington the interviews were conducted in 1996. I am extremely proud of this work and feel privileged to have recorded the interviews and met the wonderful and inspiring people who survived.
I had very similar feelings about the bitter sadness of people who have been victims because of others hatred, greediness the holocaust victims and the survivors stories was probably the first time I began to examine the questions I am now seeking answers to in my Artwork, and that is why I feel it is important to mention this experience when discussing my current work.

http://www.rte.ie/tv/programmes/alostson.html