If people pick out these ‘Easter-Eggs’ it is almost like a Magickal invocation of discussion and debate.
I never want to tell someone what to think, I believe our society does that enough through the means of advertising. I think the element of open-discussion and interpretation to be a large component of my artwork as the discussion that arises around my creations is its own platform for learning and growth for myself and others involved. I learn best from the active discussion with other peoples perspectives, as opposed to reading or watching.
Thanks a lot for your time and for sharing your thoughts, Jordan. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?
I am currently working on kinetic art pieces as part of my Honours degree, but am also working on a thesis about the relevance of sigil magick within contemporary art- so to be honest, I am not exhibiting much this year.
However, I have a lot of updates on my Instagram (@sibley_sisters) and my website (jordansibley.net) if anything new arises!
Thank you SO much for having me, I really enjoyed this!
Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
I work with thematisation of life and life events. In my work I mostly react to current themes. In some older works I worked with memory, especially in the work "What next?", "Notice boards", "Milouš" (2007-2008). It was a reaction to the previous period - the former totalitarian regime in Slovakia and throughout the Eastern Bloc.
When working with text I use word games, absence, negation, quotation. In my recent screen prints I use as a source old family photographs, but also ongoing records captures by the camera. So memory is present especially in captured and archived moments.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
There are no rules. I think it's good to have an experience with material; it offers more freedom in creation. I choose the technique according to the topic. When creating objects and installations I have been trying to make graphics present, even if indirectly; or at least its attributes (print, multiplication, etc.). Lately, I focus mainly on screen printing and I want to experiment more in this medium.
How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?
My work is based on meaningful and visual communication. That is what I am striving for in my works; to give them ideological background. When working with text, I am particularly interested in text as a graphic symbol, but I use text especially for its communication ability. Text interpretation can then stir viewer’s emotions. The current works made by screen printing technique record the moments of life where I try to achieve a visual shift and thus make the displayed image more special. In the series of screen prints, where I work with portraits of animals, I refer to the life cycle and the power of nature, the characteristics of the animals, the animal kingdom, which is also a reference to human qualities.
The animal kingdom is particularly interesting in its natural instinctive functioning and hierarchy. This part of my work is more about emotional perception but it is also about the intellectual side of the perception.