About Jeri's work -
By photographing the treed landscape with a purposefully oversized pinhole or a radically defocused lens, however, I capture it as it is not often seen. The images are
firmly grounded in the natural world, a particular place, a particular season, a particular time. But by obscuring detail, only the strongest brush strokes emerge: the images become sketches with light, literally and figuratively.
The work is unabashedly retinal. But it is also as much object as it is image. The pieces are translucent, reflective and tactile - as a result of the infusion of encaustic into and on the surface of the Japanese Kozo paper. The pieces float off the wall, and move with air current in a room. And, if you are close enough, the scent of the bees’ wax in the encaustic is clearly detectable.
The work is intended to speak directly to the senses: to bypass, on some level, the rational brain. I am happiest when it sits on the balance point between the concrete and the abstract, perception and memory, the there and the not there.
