State Library of South Australia

Australian Network for Art and Technology artist file of Jan Nelson [BRG 391/251] • Mixed material

Australian Network for Art and Technology artist file of Jan Nelson

Nelson, Jan, 1992-1995, Mixed material, BRG 391/251/2/1

Australian Network for Art and Technology (ANAT) artist file of Jan Nelson comprising an exhibition program for 'Incident' (BRG 391/251/1), and a slide, 'La boudoir Hysterique' (BRG 391/251/2).

Australian Network for Art and Technology artist file of Jan Nelson — Australian Network for Art and Technology artist file of Jan Nelson

Nelson, Jan, 1992-1995, Mixed material, BRG 391/251/2/1

Australian Network for Art and Technology (ANAT) artist file of Jan Nelson comprising an exhibition program for 'Incident' (BRG 391/251/1), and a slide, 'La boudoir Hysterique' (BRG 391/251/2).

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Summary

Australian Network for Art and Technology (ANAT) artist file of Jan Nelson comprising an exhibition program for 'Incident' (BRG 391/251/1), and a slide, 'La boudoir Hysterique' (BRG 391/251/2).

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Physical description

Ephemera (program)
Photograph (slide)
35mm
1 sheet, 1 photograph (slide) : 0.5 cm

Dates / Publication details

1992-1995

Artist

Nelson, Jan

Collection

Part of Australian Network for Art and Technology Collection

Subject

Nelson, Jan, 1955-
Artists -- Victoria

Catalogue record

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General notes

Records contain personally identifiable information.

Historical information

Artist's statement: 'Jan Nelson's works exploit emotional, textural and chromatic intensity, oscillating between fear and power, complacency and dissent. Layered within the artist's work is the personal experience of her own formative years during the social, political and cultural tumult of the 1960s and 70s. Nelson's multi-disciplinary practice encompasses painting, sculpture, photography and installation, and concentrates deeply on the role of the visual in the construction and experience of the developing self. Both alluring and disquieting, the dynamism of her work stems from the artist's preoccupation with states of change. Nelson perceives the labour of he human hand as a performative act, exposing the gap between the desire for digitized perfection and the flawed reality of our idiosyncratic humanity. As Nelson states "as with all of my work, the meaning is contained within the process where the handmade meets acute industrial precision. Whether it is a hyper-real exact replica of a photograph or screen, an abstracted minimal rendering of stripes on a wall, or the incessant casting and crafting of 3D objects, all are managed from a set of instructions, followed exactly to perform a kind of perfection, and more importantly, to give rise to problematising the very nature of representation. In acting out this exactness it is my aim to claim a type of witness to the anxiety and struggle of contemporary living".'

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