PROJECTS > Extinct Paradise

A Migrating Raven Burns in the Sun
latex, acrylic, spray paint, compost, sand, feathers, beads, yarn, thread, fake flowers
78" diameter
2018
Water Weeps in a Vail
latex, acrylic, paper, semi precious beads, sand, yarn, wire thread, mirror, lace on found quilt
64" x 56"
2018
Aether, The Universes, Tangled in a Web of Infinity
latex, acrylic,compost, sand, plastic, yarn, thread, beads, paper on curtain
78" x 48"
2018
Tornado in a Vortex
glass bottles, lamp oil, water, bondo
29" x 8" x 8"
2018
THE STIGMA FOG SAINT Wards off Extinction
Digital Video
6:16 minutes
2018
Mascot
fabric, wire, plastic rat skeleton, nail polish, fake flower, yarn, tin can, spray paint
13" x 7"
2018
Painted Future
tempera, on paper
20" x 17" framed
2017
Butterfly
latex, acrylic, sand, yarn on tablecloth
110" x 57"
2016
Dragon Lady
latex, acrylic, sand, yarn, on tablecloth
70" diameter
2016
Earth is Covered in Worms
latex, acrylic, paper, yarn, thread, glass beads, on bamboo fence
59" x 74"
2018
Untitled
oil pastel on paper
27" x 21" framed
2017
Untitled Clock
paper, acrylic, spray paint, clock, metal, glass beads, thread, fabric
48" x 18.5"
2018
Untitled
cardboard, latex, compost, meditation coloring book page of sea animal, glass pebbles
18" x 10"
2017
Untitled
oil pastel on paper
21" x 31"
2018

The earth is seeking reclamation,
wounded much like the other.

Water weeps into a veil
Aether is tangled in a web of infinity
Earth is covered in worms
and a migrating raven burns in the Sun.

Transformed as tapestries, emblems, or shields the elements with their familiar the Stigma Fog Saint absorb our traumas, set to block out the light of progress, existing on the other side.

Extinct Paradise
Abode Gallery, Los Angeles, CA
March 9th - June 9th, 2018

Press Release

Jennings creates forms and textures to manifest notions of the monstrous and non-human, commenting on the circumstance of being othered. This action is paired with the natural elements linking the exploitation of othered bodies to that of mother earth. The material processes have also been used to allow spaces of chance to occur in an effort to allow material agencies to rise, mirroring the timed existence of the earth’s catastrophes and the pains of social uprising.

The process of yarn dipped in paint used as a drawing tool has allowed for moments of chance to take place. Jennings is unable to fully control the ways in which the lubricated fibers shift and leave their marks, taking pleasure in the analogy of giving birth through paint smeared yarn functioning as umbilical cords, mindful of the phenomena of being and circumstance. The use of yarn also brings up sentiments related to woman’s craft, carving out a space made through that of embroidery where both women’s independence and subjugation are found.

The act of adding earth including sand, dirt, compost, and pebbles to fluid house paints has aided in the investigation of textures, senses and notions of skin. In many instances Jennings is unable to predict how the surfaces will form, not knowing whether they’ll crack, crumble or hold. Developing modes of cement, encasing stigmas of the monstrous, and grotesque, all the while preserving elements of the terrain.

Jennings is primarily drawn to using fabric surfaces due to their economic value and ability to push up against the boundaries of stretched primed canvas, panels, and squares, the hegemony. A gesture which disrupts normative structures. The domestic realities of these fabrics have beengiven a new existence while continuing to carry with them their origins, for there is something familiar that lies beneath the paint.


Abode Gallery, Los Angeles, CA
March 9 – June 9, 2018
Gallery hours every Sunday 10am-3pm