About the Work from the Artist
Pinwheel: DENY is one of a series of new works that address the crisis of climate change and particularly the impact upon the marine environment. Utilizing the iconography of marine signal flags, these works investigate related four-letter words and their resulting images. Specifically resonant with the theme of this exhibition, (Lies) is the way the Trump administration openly ignores and refutes the reality of climate change. His denial is particularly shocking in the face of clear documentation by the vast majority of the world’s scientists, the current and increasing danger and need for sweeping action. In my view this denial may result in the most consequential legacy of destruction and despair of Trump's sordid Presidency.
The design if this piece was based on the shape of a pinwheel - a toy associated with childhood and carefree leisure. Moved by the breeze or one's own breath, the wheel spins easily in response to its environment. The images in the tiles that make it up however are flat and fairly static. The graphic language of the flags seems crisp and deliberate, as it functions as a carrier of a darker message.
A great deal of historical and contemporary ceramic art develops a visual and/or conceptual dialog between the form of the vessel or sculpture, and the imagery that covers the surface. In some ways I see that as a defining characteristic of the ceramic field. In much of my work I am trying to highlight or explore the tension between overall form and surface imagery, through a distillation and flattening of form and emphasis of the pictorial potential of wall mounted works.
Pinwheel: DENY is made of mono-printed ceramic tiles, single fired to cone 2 and then cut to size with a diamond saw. The tiles are developed as ceramic prints, with underglazes drawn / incised and painted directly on a plaster slab. Once finished, a layer of casting slip is poured over them and after setting, the clay slab is peeled off, lifting the image as a ceramic print, which is dried and fired. The stainless-steel frames provide structural support and the freedom to compose on the vertical space of the wall. They are fabricated last to fit the titles, and welded into final form, after which the tiles are mounted.
Jeremy Jernegan is Professor of Art and head of the ceramics area at the Newcomb Art Department, Tulane University in New Orleans, and has served as Associate Dean for Finance and Planning for the School of Liberal Arts from 2018- 2018.
He received his MA and MFA degrees from San Jose State University in Ceramics / Fine Art in 1985 and 1987 respectively. His sculptural ceramic and steel wall pieces have been exhibited nationally.
Solo exhibitions include "Prescience", 2008 at Gallery Bienvenu in New Orleans, "Recent Work", 2007 at the Switzer Center for Visual Art in Pensacola, "Surge", 2006 at Gallery Bienvenu in New Orleans, Lines of Position, 2005 at Sandy Carson Gallery in Denver and "Wave Train" 2004, at the Wheeler Arts Community in Indianapolis, IN.
His book on sculptural ceramic surfaces entitled "Dry Glazes" was published by A&C Black / Penn Press in 2009.
Recent publications featuring his work include Ceramic Art And Perception, Volume 77, 2009 "Prescience" by Thomasine Bartlett, Ceramic Monthly, 2005, "Jeremy Jernegan Surface and Form" by Glen R. Brown, Ceramics In the Environment, An International Review, 2005, by Janet Mansfield, and "China Paint and Overglaze" 2007 by Paul Lewing. In addition to teaching and studio practice, he served as NCECA Conference Chair, New Orleans, 1993-94, Programs Director and member of the Executive Board for the National Council on Education for the Ceramic Arts (NCECA) from 1998 – 2005, and, and was appointed a Fellow of the Council in 2010.
He is currently on sabbatical leave and working as Visiting Artist at the Workhouse Arts Center in Northern Virginia.