ABOUT THE WORK
I’ve been thinking of elementals. Of water. Of ritual. Of control. Of the end of things.
Narrow Passage is the beginning of an ongoing body of work.
Silk embroidered fingerprints and labyrinthine landscapes painted
and carved into wood panel reflect human touch, the passage of
time and the influence human presence and memory can have
on place.
ABOUT JENEVIEVE
When Jenevieve was three years old, her family moved from Cedar City, Utah to a native traditional village in Alaska called Pilot Station. There she was generously and lovingly taught the sites, smells, sounds and stories of the Y’Upik people who had lived in the village for generations. She can still remember the quiet beauty of a Y’Upik woman skinning a seal with an Ulu on the beach.
Life in the village as an outsider, became a woven experience of the integration of native culture and western ideals. The Y’Upik people were rooted in subsistence living and ancient animist beliefs where everything in their surrounding was imbued with a spirit source – rocks, trees, ice, dirt, animals. This was juxtaposed with their recent exposure to a western consumer based society – blue jeans, coca cola and cable television. Hubbard managed her own personal dichotomy between life inside her typical American home and an outside existence fiddling with fish traps on the beach, watching villagers hang smoked salmon and exploring the graffiti engulfed piss-smelling shack that supplied the village with drinking water.
She later attended art school at the University of Utah and joined an art collective stationed in a 100-year-old hospital. She was awarded the Grace Durkee Meldrum Scholarship, met many influential artists.
Following that time, she began a series of totemic industrial paintings using soil, tea, ink and acrylic paint. This work became a return to the elemental themes of her childhood, drawing from indigenous mythologies and reflecting her attempts to navigate the spiritual fall-out of a disconnected and isolated modern existence.
Jenevieve’s work has been reviewed and discussed in the Salt Lake Tribune, the Awkward Hour (a cult scene underground podcast), 15 Bytes and the City Weekly. It has been exhibited at Kayo Gallery, Maridadi Gallery, Charley Hafen Gallery, Nox Contemporary and the Utah Cultural Celebration Center.
A new body of work currently in development, centers on fingerprint imagery, obsessive rituals and endless stretches of barren landscapes.
