Jennifer Brewer Stone

Jellyfish Rising, 2022

Mixed media

https://jenniferbrewerstone.com/

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I strive to make the unseen seen, whether that’s awe of the beauty in nature, or awe at the strength of a person or community. The preciousness of life. I use transparency, texture, saturated oil paint and sometimes resin in mixed media to encourage the viewer to look deeper and more closely. I’m drawn to the bright colors and exotic forms found in tropical areas. I am fascinated by the idea that something in our world can look fantastical, but it really exists.

Nature also has a contradiction of beauty and danger that attracts me. Some of the most brightly colored plants and animals are poisonous. These plants and animals tell me that sometimes you have to take risks to achieve beauty.

My IVF (In Vitro Fertilization) Series explores nesting in my pincushion piece, and whimsy with embryos as Hans Solo frozen in ice in my Three Frozen Embryos piece. I’m utilizing resin and texture along with a whole variety of new mixed-media options for this series including 3D printed baby/no baby dice. The series will use games and playfulness to make this serious subject more accessible, and will become a solo exhibition.

Description of Material and Technique:

I use photos as reference to juxtapose natural elements and create new thought-provoking environments. I paint with oil on canvas or panel. I use thin layers and dry brushes at times to keep the color sharp and the edges crisp.

Jellyfish Rising (#1), is from my Dance of Life series, using molding paste underneath, resin and oil paint. The molding paste texture on the edges combines all different forms of water from different spatial dimensions: the way waves look when seen from a plane, watching the bank of a river or a cresting wave in the sea, and the smallest form of water in the tiny droplets that form the wave itself. I apply the paste with a large palette knife, then remove some by using a pull up motion (like pulling peanut butter away from bread) to create this particular wavy texture. The tentacles of the jellyfish were applied with a very small liner brush. This is the most time-intensive part painting-wise, and can take ten to forty hours per piece. Shown here also are pieces combining the three techniques, with resin, texture, and other effects intermixed in For the Love of Science: Oxytocin.