A Feeling For Family
A closer look at Jerusalem fellow Shelley Jordon and her work, reprinted from OSU Art Blog Terra.
Personal relationships drive Shelley Jordon’s experiments with painting and animation
By Angela Yeager
When Shelley Jordon was a little girl growing up in Brooklyn, she got in trouble for pulling her mother’s books off the shelves and drawing in the white spaces. Her need to create was so strong that she couldn’t resist, despite knowing her mom would be angry.
Many years later as an adult reeling from the news that her husband had a brain tumor, Jordon followed a similar urge. She printed out his MRI scans and started painting on top of them, covering them with her brush strokes, using personal imagery to come to grips with her fear.
“It was like going to a new country,” she says. “It was a whole new world of visual subject matter that I didn’t know existed, and it was my husband’s brain. It was visually exciting to me and at the same time a living document of the reality of our situation.”
Jordon, a professor of art at Oregon State University, has been an artist ever since she can remember. Painting has been not only her life’s work but also a lifeline during difficult times. Through trauma and transition, she has drawn from personal experience, but the feelings she captures are universal, grounded in the daily events that we share with the people who are closest to us.
Her early focus on still lifes took a dramatic turn with the uncertainty of her husband’s condition. Interpreting objects on a canvas was no longer enough to express her day-to-day feelings. She needed her pictures to move, to express a reality that was not fixed and a future that was in doubt. Adapting her work to a life in flux, she transformed herself over a period of several years from a renowned still-life painter to a creator of award-winning hand-painted animated movies.
“Shelley has recently embarked on an exciting new direction, exploring animation, installation and video in works that introduce a very moving type of content – the vicissitudes of human relationships,” says Sue Taylor, a respected art critic and historian at Portland State University. “This seems a pivotal point in her career, almost a reinvention of her artistic interests, and it will be fascinating to see where these experiments will lead.”
Well Known for Still Lifes
Before Jordon’s domestic life was upended by her husband’s illness in 1995, she had earned a national reputation as a creator of still-life images. Throughout the 1980s and 1990s, she worked steadily, focusing on the objects in her daily surroundings. Her work was featured in a one-person career retrospective at the Frye Art Museum in Seattle. Other exhibits followed: the Oregon Biennial at the Portland Art Museum, the Northwest Biennial in Tacoma, Washington and galleries in San Francisco, Chicago and New York.
And then, everything changed.
Jordon, her husband David and their young daughter Clara were in Italy where Shelley was teaching as a visiting professor. Her husband fell ill, and they came home to Oregon early, only to receive the news about his brain tumor that was to refocus their lives.
“Thankfully everything worked out okay, and he is fine now, but that period from diagnosis to recovery really blew me open. And I started doing work as much as to keep myself sane, but also it took me down an entirely different path,” Jordon says.
Jordon began drawing on her husband’s MRI scans, layering image on top of image. “Drawing on them, I was thinking of previous traumas, and it made me think about how [with] each new trauma we re-experience previous traumas. Part of what was going through my mind was, I was thinking of the possibility that my daughter would not have a father, and I thought about the fact that I didn’t have a father growing up, and I made all those connections.”
Jordon started grasping for something new but didn’t yet know what she would find. In her grief and anxiety, she couldn’t even think about painting a vase, a flower or a rooftop.
“I didn’t want to even look at those then. And I didn’t know what I wanted to do,” she says.
Hot Wax and Pigments
The woman who had always identified herself foremost as an artist began to worry that she would never paint again. Jordon didn’t paint with traditional media for several years; she was concerned that her career and life as an artist were over. But spurred by her need to create, she started experimenting with different forms of art, including an ancient technique known as encaustic paint.
Sometimes called hot wax painting, encaustic is a mixture of heated wax and colorful pigments. Painting with it resonated with Jordon’s feelings: “You dig and scrape back into the layers of the painting and it creates scars on the surface. The process echoed the emotional state I was in. They were beautiful little paintings, but it felt transitory. I was trying to find a new visual vocabulary through these processes.”
Soon after this time, another family transition led Jordon to a new step in her exploration. Her daughter Clara was getting a box of stuffed animals ready to take to Goodwill. Surprised and a bit saddened that her daughter was parting with objects from her childhood, she asked Clara to take each stuffed animal out so Jordon could paint them, layering one image on top of another.
“Then I stopped and thought maybe I had gone too far, maybe I had painted too much,” Jordon says. “And this led me to think I should photograph the process so I will be able to see exactly when I had gone too far and should have stopped.”
Jordon’s first piece of animation, “Angry Gorilla,” is a result of this experiment. The process excited her. Documenting each step by photographing a completed image made her think of change and transition and how art often reflects an end result, not the process that led to it.
“When I am looking at you, I only see you as you are right now, but you as a person have an entire lifetime of experiences that made you who you are up to this point,” she says. “And suddenly, it all started to come together. What I had been searching for was movement, change – the very essence, in some ways, of life.”
In 2009, one of Jordon’s most prominent pieces of work again came from her home life. “When my daughter turned 11, she started pushing against me in ways that made me think of how I did the same thing to my mother,” she says.
“Family History” is Jordon’s masterpiece, a short animation comprised of 500 painted images layered on a single piece of paper. With Yiddish music from Jordon’s childhood as the soundtrack, the film is sweet, melancholy and reflects the changing dynamic of families in a unique and profound way. Jordon layers images of her great-grandmother, grandmother, her mother, herself and her daughter until all the faces blend together and are indistinguishable.
“‘Family History’ is about experiences, it was entirely stream of consciousness and free association,” Jordon explains. “I didn’t have a narrative in mind, just some old family photographs to draw on for inspiration. I had gone from spending three months on one painting, to spending five seconds on a painting and painting it out and covering it up, and then, it doesn’t exist anymore. It made me think of the fragility of life, and it just freed me to take risks.”
Unsure of how her new work would be received, Jordon submitted “Family History” to a short film competition at Marylhurst University in Portland. In May 2009, it won the Critic’s Choice Award, followed by the Judges Award from Los Angeles Times film critic Ken Duran at the Northwest Film Festival. It was also screened at other festivals around the world.
“I started seeing articles in the press that said, ‘filmmaker Shelley Jordon,’ and it really threw me,” she says. “I am a painter. I had to learn to achieve what I saw in my head.”
Shaken to the Core
In the spring of 2009, Jordon was a visiting artist at the American Academy in Rome when an earthquake struck the city. Aftershocks occurred every night for a week. The result for Jordon is perhaps her darkest and most accomplished work to date, a six-minute animation called Terremoto (“Earthquake” in Italian) that combines images from Roman mythology and history with an unsettling, jittery feeling. It is set to music by composer Kurt Rhode, who was also at the academy in Rome.
“Every night the room started shaking and my heart was pounding, and I soon couldn’t tell if it was an earthquake or my heart pounding anymore. One trauma brings up another trauma. These ideas of trauma, the illusion of safety, the fragility of human life are all very important for me,” she says.
Those themes show up in another animated installation that Jordon exhibited in May 2010 at Marylhurst University. “Morning Coffee” was part of the Motherlode exhibition for Mother’s Day. Jordon set a small breakfast table with linen, a morning paper and a cup of coffee. On the surface of the coffee appear moving, painted images culled from her personal life and from the news. A viewer might see an image of Michael Jackson and then a grocery list.
“What intrigues me about Shelley Jordon’s recent work is how it uses video animation to build on her paintings’ exploration of still life and family story,” says Terri Hopkins, director and curator of The Art Gym at Marylhurst. “Morning Coffee in particular is very successful in the way it integrates video and sound into the still life tableau.” (In 2007, The Oregonian named Hopkins one of the region’s most influential persons in the art world.)
Jordon’s recent success comes at a time when everything else in her life seems to have aligned. Her family, now living in a beautiful old home in northwest Portland, is healthy, and she continues to teach a full load of classes at OSU, including painting and a contemporary issues class for art majors that she helped to design.
“Thankfully, the old model of the genius artist who didn’t have to work very hard is very outdated now,” Jordon says. “Art students now understand that you need a plan. There are DIY (Do It Yourself) models of artists who find a way to make a living by working for nonprofits, interning at or starting their own gallery, curating, or like me they teach, do research, and find time to create art that fulfills their creative drive.”
She also paints herself as a student – now learning video software programs such as Final Cut Pro and getting help from both her art students and students in OSU’s New Media Communications program to gain the technical skills she needs to accomplish more sophisticated animation. After teaching for 25 years, Jordon is both learning from her students while imparting her own knowledge of traditional painting techniques. And now, it would seem, the sky, creatively speaking, is the limit.
“In New York where we all lived in small, cramped spaces, I had this reoccurring dream where I would open up a door, and there would be this whole room in my apartment that I didn’t know existed,” she says. “This is how all of this has felt internally for me. There was this door I had never opened before, and once I opened it, there was this incredibly huge space of unexplored creativity waiting to be tapped.”
A New Journey
Jordon’s newest project is just starting to take shape. Tentatively titled “Anita’s Journey,” the artist found inspiration in the incredible journey of her husband’s now-deceased mother, Anita Greenstein, who spent her childhood hiding from the Nazis in Berlin during World War II.
“His mother was six-years-old when they went into hiding and the entire family survived and ended up settling in Portland,” she says. “I want to explore Anita’s point of view, what it might be like to be this little girl hiding in various locations, from a coal storage warehouse to various basements.”
In June, Jordon traveled to Berlin to research “Anita’s Journey” with the help of awards from OSU’s Center for the Humanities and Valley Library as well as the Oregon Arts Commission. Before she left for Berlin, she received an international honor: The Jerusalem Cultural Fellowship named her one of four fellows for a pilot program for artists to work in the historical city. The Oregon Jewish Museum, which exhibited “Family History” in 2009, had nominated her (Read more about her fellowship experience here.). Also joining her were acclaimed novelists Jonathan Safran Foer and Nicole Krauss; choreographer Reggie Wilson; and New York urban planner Joshua Sirefman.
In Jerusalem, Jordon met other artists, including filmmakers and animators who attended an exhibit of her work. Among those were Paul Vester, co-director of the experimental animation program at the California Institute of the Arts.
“Shelley has a sense of humor. This and her life experience, together with the connections she makes between traditional drawing, animation and technology, informs her work in unexpected ways,” Vester says. “She is treading here a relatively new path, that of the animation artist.”
The trips to Berlin and Jerusalem gave Jordon the creative freedom to visualize the place where her husband’s mother was hiding from the Nazis and the time to start shaping those ideas into her next animation. Again, she comes back to the importance of family, and the connections that shape people into who they become.
“Clara was three when her grandmother died, so she never got to know her and know the person she was,” Jordon says. “Not only is this an incredible story of resilience, and trauma, but it is the story of my daughter’s grandmother told from her point of view when she was a little girl.”
