Jennifer Packer - The Eye is not Satisfied with Seeing

“My inclination to paint, especially from life, is a completely political one. We belong here. We deserve to be seen and acknowledged in real time. We deserve to be heard and to be imaged with shameless generosity and accuracy.”

— Jennifer Packer, 2020

A few years ago I went to see New York based, Philly born artist Jennifer Packer’s exhibition at the Serpentine South Gallery in London. I hadn’t heard of the artist nor did I know anything about the show but had seen an image advertising it somewhere and knew I had to go. Catching it just a few days before it closed in late summer of ‘21, the show remains one of my favourites I have ever seen. Jennifer’s work is not only incredibly beautiful but deeply connected and representative of contemporary black lives in her own community, current events, and racial politics. Each painting draws you into a immersive emotional story state while mesmerising our inner artist with extraordinary her use of brush technique and colour. It left a deep impression on me. I knew this was something very special and profound. I think about it often, and so decided to finally share my experience with it, all these years later. If you would like to find out more about this exhibition and the artist click here.

LW

Jess, 2018 Oil on canvas 76.2 x 61 cm 30 x 24 inches Collection of Ursula Burns.

Close up of the deeply emotive floral still life painting that is: Say Her Name, 2017 Oil on canvas 121.9 x 101.6 cm 48 x 40 inches Private Collection. Courtesy the Artist, Corvi-Mora, London and Sikkema Jenkins & Co, New York.

“Packer has described her floral compositions of funerary bouquets and vessels of personal grief; these paintings about loss are often made in response to the tragedies of state and institutional violence against Black Americans. ”

— Serpentine Galleries

Tia, 2017  Oil on canvas 63.5 x 99 cm, 25 x 39 inches, Collection of Joel Wachs, Photo: Matt Grubb.

Right side close up of the luscious paint strokes of blues and greens: For James III, 2013 Oil on canvas 121.9 x 182.8 cm 48 x 72 inches Private Collection. Courtesy the Artist, Corvi-Mora, London and Sikkema Jenkins & Co, New York Photo: Marcus Leith.

Bottom portrait close up of: For James III, 2013 Oil on canvas 121.9 x 182.8 cm 48 x 72 inches Private Collection. Courtesy the Artist, Corvi-Mora, London and Sikkema Jenkins & Co, New York Photo: Marcus Leith.

Close up of Untitled, 2016 Oil on canvas 61 x 61 cm 24 x 24 inches Private Collection. Courtesy the Artist and Corvi-Mora, London.

April, Restless, 2017. “For me, making a portrait of someone is wanting to do the subject justice and, if anywhere, the imagination sits in the respectful distance. It’s imagining a space that an image or representation can’t quite touch. There are parts of subjectivity that aren’t quite revealed on the surface and can’t be essentialised through drawing. Sometimes things in the paintings get collapsed, so in April, Restless (2017), I made the leg of the table that was behind her rest on her finger. It’s very slight, but I’m trying to build these metaphorical connections for how I think about these folks. There’s a give and take between representation and imagination.” Jennifer Packer 2020.

Typewriter close up from: April, Restless, 2017. (Above).

Close up of the oscilating fan in: Blessed Are Those Who Mourn (Breonna! Breonna!), Packer's mighty response to the killing of Breonna Taylor by Louisville police officers in March.

The Masterpiece that is: Blessed Are Those Who Mourn (Breonna! Breonna!) 2020. Packer's mighty response to the killing of Breonna Taylor by Louisville police officers in March and the artist’s largest painting to date at time of taking this photo of it (August 2021).

“It’s hard to counteract alienation outside of the space in which you feel alienated. But if I feel in the studio, if I come back to the question of my own life mattering, then I do feel a sense of power. I am not interested in the typical sense of hierarchy that comes with portraiture, but in the environment.. just as much as the figures that sit within it. I like that with painting you can create this other narrative which can overwrite the memories that you have. There is something really wonderful about the limitations of image making as it pertains to the subjectivity of humans.””

— Jennifer Packer via Serpentine Galleries Film

friday night light

Nothing much to report here, just some beautiful photos I took on Friday and Saturday last weekend. The sunshine has been so nice. Feeling the winter dullness creep in and getting at least a little bit of bright sunlight is so very welcome! Met a friend for lunch at Maison François in St James then popped over to soho for a quick errand before heading back home. The city was sparkling! ✨

Theaster Gates

The Oculus and it’s perfect shadows.

Theaster’s Paintings inspired by his Father’s career in roofing punctuate the space.

The cutouts of the Chapel onlooking to the Serpentine Gallery South.

View of the Serpentine bridge en route to the Chapel.

Was another day at Dean Street Townhouse in Soho. Summertime in the city, not too busy. I was in a pretty good mood, which was always helpful at that job. A chilled morning allowed me to do one thing at a time and tend better to the guests. I always felt good when it was like that. A quiet hum of uplifting energy. Sunlight rolling in and a sense of possibility threaded throughout. Whilst in my daze of optimism, the phone rings. Slightly annoyed at the interruption of peace I snap back to work mode; “Good morning, Dean Street Townhouse, Lindsay speaking how can I help?”… “Oh hello, I’d like to make a booking for my boss please?”… “Why yes of course” I replied. “What’s the name you’d like to reserve under?” “Theaster”. “Okay thank you, and the first name please?” “No, that is the first name. The surname is Gates”. “Oh! My apologies, it’s a very unique and cool name, I must say!” Slightly embarrassed I thought to myself, ‘Should I know who this is?’ Probably, oh well..one more person to learn about! The woman on the line agreed with me on the name in an awkward but polite way and hung up the phone. By this point a few people had walked in and were waiting for me to assist them at the door so I went about my front desk duties. Seven o’clock the next morning rolls around and I’m back at the front desk again. An equally bright and beautiful sunny sky outside. The J.O.B (as I called it) at Dean Street always felt so repetitive it would do my head in, but the perk of working there was when I found myself in surprisingly deep conversations or light comedic banter with anyone willing to laugh at my jokes. I met some phenomenal people this way and felt that the job, although not satisfying on a career level or what I really wanted to be doing was a gateway to really understanding London and my potential in it. It’s incredibly inspiring to be in a city that is an epicentre for so many creative, dedicated, and accomplished souls. All walks of life come together in a smorgasbord of culture and ideas. It’s mind blowing. London is what I like to call a Starburst City, and it’s one of the reasons why I love it so much.

Back to my story.. A lot of people travelling would stay at the DSTH hotel next door and be up insanely early, jet lagged and seeking a quiet refuge to have some breakfast and coffee. On this particular morning, a very kind looking gentlemen comes in says hello and asks for a spot for one for breakfast. I notice his subdued American accent. “Yes of course, come right this way.” As usual, I make chit chat on the way to the table, craving connection with like minded souls to escape the mindlessness of the job. This guy seemed super interesting and I was curious. I always had a feeling with certain people, and he was one of them. I wanted to ask so many questions but would have to keep my cool.. I was, after all at work. He sits down at the table in the parlour area and we continue to chat. I am aware of my being “away from the desk” but don’t really care. I didn’t take the job to learn how to be a receptionist at Soho House, I took it for experiences like this!

The kind gentleman asks me where I’m from and we enjoy a good banter about Calgary life and moving to London. We talk about Chicago, his hometown, and I mention how much I love the Art Institute there and tell him about how friendly everyone was on my last visit there. He smiles and introduces himself, “Theaster” he says. “Oh my gosh” I said. “Your assistant called and you have an actual booking today at 9:30!” He smiled. “Yes, that’s right” he said. “I will join them once they arrive. Thanks so much Lindsay.” Chuffed, I go back to the desk and like clockwork Google my new ‘friend’ Theaster. As the results load I shake my ahead in bemusement as I discover he is a very accomplished artist. No wonder we got on. He was in town for his Black Chapel installation that was being presented with the Serpentine Gallery. I was running past it already, but as it wasn’t directly on my run route I hadn’t properly gone to take a look.

From the outside the chapel is quite striking, humble yet fierce with its tall brooding black beams, and perfect shadows. It feels very welcoming with its intelligent use of materials and colour. My favourite feature was the oculus, which in Theaster’s words, ‘allowed light and nature in, creating a relationship between the things that happen on earth and the things that happen above the earth.’ The seven paintings on the inside of the chapel were inspired by Theaster’s father’s career in roofing. ‘They are a salute to history of labour in the ways of which labour is a beautiful spiritual way of transmitting energy.’ So eloquently said. I had never thought about labour in this way but watching this short five minute video on the Serpentine’s website was very helpful in understanding the project.

‘What I needed was simple; Space that wasn’t flamboyant, that in a way could disappear, but in disappearing it also felt grand. The volume of this chapel is a big part of that. It’s height, it’s roundness. I wanted to pay homage to the ceramic industry and the bottle kilns of Stoke-on-Trent.’ Black Chapel for me has unified parts of my practice that have seen disparity. When you build the right vessel it unifies that interest in ceramics, the spiritual, the built environment. ‘Source: https://www.serpentinegalleries.org/whats-on/serpentine-pavilion-2022-black-chapel-by-theaster-gates/

LW

Richard Spaven - Jazz Café London

Jazz Café October 31st, 2020.  My partner, Richard Spaven, who is an incredible drummer and producer sold out a back to back show as a first gig back after the big lockdown of 2020. On the break between the two sets we got news of yet another lockdown. In three days we would be going back in again for four weeks. After this we’d all be let loose to go do our holiday shenanigans & shopping only to go back into yet another unexpected Christmas Lockdown on the 18th of December. This lasted until April 12th the following year. 

This particular night at The Jazz Café was so wonderful for many reasons, but mainly because I got to witness the crowd roar with delight of finally getting to see some of their favourite musicians on stage again doing what they do best. The best feeling!! I felt so happy for Rich and everyone up there. Stuart McCallum, Chris Hargreaves , and Jordan Rakei. What a special show.

xo LW

*All photos taken on Canon Eos T1i 24-70mm F2.8L

Costa de Caparica

October 2019. We didn’t know what was coming in 5 months. I am so glad I decided to go on this mini vacay. My sister was turning 30 years old and had planned a birthday trip to Portugal. I had just moved to London and thought I shouldn’t be spending money I had not yet earned yet. She convinced me to come in the end and I am so glad I did. It’s amazing what 4 days on the ocean and October sun of the Mediterranean can do for your soul. We rented a house right on the beach with Airbnb and it was perfect. Such a beautiful stretch of sand. The crowds had gone and we were greeted only by locals. This was the way to go. Loved every minute. Thanks Kate. XX

LDW