Works by Jenny LeBlanc
In this collaborative “printstallation,” we combine printmaking with dance, wind, and water to create a fluttering watercolor landscape. Open Peril examines the synergistic, destructive, and transformative effect of natural forces on the environment, with an eye cast toward man’s role in causing, coping with, and capitalizing on nature’s effects. Open Peril by Kyle Bravo and Jenny LeBlanc, 2008, prints $20 each.
Hold Your Breath
Hold Your Breath, dimensions vary, linoleum cut, relief print on doctor's table paper, other mixed media, installation, video, and performance, 2008, prints $100 each.
Cuts, dimensions vary, relief print, surgical thread, other mixed media, and performance, 2008, prints $50 each.
Everlasting Love , dimensions vary, linoleum cuts canvas, 2007; Price on Request.
For some time I have been making work that speaks about the action of printing - the repetitive dance we do when we ink, pull, print, ink, pull, print... My history of combining performance with printmaking and Kyle's interest in the display of the process came together in this collaborative piece. We were each at an end of a table, myself with a linoleum cut of my face mounted to a roller device I built and Kyle with a screen of his face. We each started with 1000 sheets of paper and over the course of 3 hours printed as many self-portraits as we could. Face Off by Kyle Bravo and Jenny LeBlanc, 2007, NFS.
Sew What Now
Sew What Now, dimensions vary, linoleum cut on Rives BFK with thread, sewing machine, printing device, 2007; prints $5 per inch.
Monks and Quakers and Pioneers
These pieces paint a tale of two cities through the metaphor of Bywater's rather curious avian population. Before the storm, flocks of wild parrots abounded. They, like pre-Katrina New Orleans, were a splendid but wild, bawdy, and beautiful spectacle. I haven’t seen one since the storm however. Instead, the beautiful and shrill, loutish birds, have been replaced by the feral progeny of another once-domestic brood. Escapees from a nearby fighting ring, these scrappy cocks have made my neighborhood their own. Laden with tight and shiny green and gold plumes, they pluck up wasted Cheetos from the sidewalk with a wary eye cast in the direction of any possible threat. Built for speed in fighting, these birds are strong, wild, brave, and smart. They exhibit extremely atypical rooster behavior by living peaceably with each other in their struggle, like so many people, to survive daily life in the streets. They symbolize the new haunting beauty of the city which is still so captivating to watch and experience, but has taken on a more rugged, practical, and threatening air. Monks and Quakers, each print 84" x 48," Screenprint and watercolor, 2006, Price on Request.
The Line That Binds
Water, salt, debris, and human judgment combined over a year ago to leave an indelible living mark on the people and places of the Gulf Coast. This series attempts to imitate and preserve the stain of memory and the residue in our homes. The Line That Binds, each print 24" x 18," intaglio on wallpaper, 2006, Price on Request.
A.R.M. (Art, Ready-to-Make)
This piece was made as a direct response to our situation as Hurricane Katrina evacuees and artists. These “A.R.M.” kits are based on the M.R.E. (Meal, Ready-to-Eat) packs handed out by the National Guard to Hurricane victims in the wake of Katrina. The kits were unveiled in conjunction with a performance in which Kyle Bravo and I dressed as relief workers/national guardsmen, entered the gallery, and handed A.R.M.s to viewers. The viewers undertook the challenge of creating their post-disaster art upon opening the kits and following the instructions inside. The gallery was thus filled with artwork and piles of resultant packaging debris that represents the mess in New Orleans post-Katrina. A short slide show about this piece was featured on CNN.com and can be viewed at the link below. A.R.M. (Art, Ready-to-Make) by Jenny LeBlanc and Kyle Bravo, mixed media, 2005, NFS.
A Balancing Act
This piece takes the form of a balance beam, but functions as a dedicated book printing press. It has a piano hinged lid, which, when opened, reveals an intricate sintra cut (much like a woodcut or carved linoleum printing plate) of a figure performing a balancing act on a beam. I ink up the cut with an inking brayer, lay paper down, close the lid to the beam press, and close the brass latches on the outside of the press. I then perform on the beam the very balancing act that the figure who is carved into the sintra cut appears to perform. The weight of my body performing the blancing act supplies enough pressure to print the cut images onto the paper. After the performance on the beam, the paper is removed and bound into a twelve-foot long accordion book depicting the very balancing act that created it. The parts of the book that print most clearly result from the positioning of my body over those portions of the beam during the performance, and as such, no two books look exactly the same. A Balancing Act by Jenny LeBlanc, balance beam press: 6” x 144” x 4;” MDF, Sintra, steel; book: 12” x 4” when closed, 144” x 4” when open, ink on paper, suede, accordion bound, NFS.
Kite for Printing on the Wind
stretched on the kite for this piece is orange silkscreen. The photopolymer
emulsion on the screen has been burned (exposed to light) to hold tiny open
images of figures parachuting. The string holder for this kite is a silkscreen
squeegee. When this kite is flown, air passes through it only in the places
where the figures have been cleaned open on the screen - thereby printing
the invisible parachuters on the very wind that supports the kite in flight.
For this installation, I screen print the figures using the kite and kite
squeegee onto the wall so that they can be seen in a way that mimics their
being printed by the wind onto the air. Kite
for Printing on the Wind
(Installation View) by Jenny LeBlanc; dimensions variable, kite: 36”
x 41;” silkscreen, string, wood, ink on wall, silkscreen squeegee, NFS.
This pair of stilts can be charged with ink in such a way that every step produces a print on the ground. Each step produces a figure (one that is tall and looks down, the other is small and stares up) which appears to peer at the next printed step. The figures stare wildly at each other, befuddled at the great difference in their statures despite their seemingly identical appearance.Untitled: Stilts by Jenny LeBlanc; 12” x 3 ½” x 3 ½” each; rope, wood, felt, ink, Price on Request
The above image is the first version of the Bike Press. The newer version is smaller, more concise in form and economic in function than its predecessor. In this particular piece for writing a whirlpool, the press inks up a linoleum cut which runs the length of a fabricated tire. The cut prints some eight feet of figures in various states of drowning, and/or struggling to stay afloat. When I ride the bike in a circular fashion on the substrate, the image of figures trapped in a whirlpool emerges. Whirlpool by Jenny LeBlanc; print: 14’ x 14,’ ink on board, press: aluminum, foam, ink, and linoleum on cruiser bike, NFS.
This five color reductive cut (sometimes called a suicide print because the act of carving each successive layer destroys all previously printed parts of the printing plate) starts a conversation about imagery that is sensitive to the form and method of its creation. Squish Print by Jenny LeBlanc; 23” x 12” x 27;” oak, pine, linoleum, ink, bike handle grips, NFS.
A coloring book about the weights of the world, and about how bubbles can be bombs and vice-versa. Heavy by Jenny LeBlanc; 8 ½” x 11;” linoleum cut printed cover and crayon box, ink on tea-stained paper, NFS.
View work by Kyle Bravo.