Rebecca Jensen

          Artists 驻地艺术家

Born in Canada in 1993, Rebecca Jensen migrated to Australia in the late 90’s. Coming from several generations of migrants, Jensen adopted an affinity with language, heritage and their respective roles within immigration politics; this interest is now a central concern of her emerging practice. Rebecca graduated with a Bachelor of Contemporary Arts from Edith Cowan University in 2016. Towards the end of 2016, Jensen was awarded an Australian Government New Colombo Grant to participate in the overseas study and has recently concluded an eight-month research project on Shanghai's Blind Date Corner culminating in her second solo exhibition Heaven Won't Throw You a Meat Pie 天上不会掉馅饼。

Her work is multidisciplinary and often employs text. At it's most whimsical Jensen's work uses language to explore every day through humorous & often cynical haikus. In it's more serious iterations her work investigates the social phenomenon in both the Australian and Chinese context.

Jensen’s work incorporates slow processes such as traditional handset Letterpress (活字印刷)and makes use of analog modes of production in direct contrast to the immediacy of the digital age.

1993年出生于加拿大的Rebecca,在90年代后期移居澳大利亚。来自几代人都是移民的家庭背景下的她,对移民整治中中涉及到的语言、传统、和其各自角色有着一种特殊的“亲切”,这种兴趣也促使了她发现了现在其艺术实践的核心,以及她学术研究的着重点。Rebecca于2016年毕业于Edith Cowan大学,获得当代艺术学士学位。到2016年底,Rebecca获得澳大利亚政府New Colombo奖学金,并且来到中国上海留学。并且她也借此机会完成了为期8个月的《上海相亲角》研究项目。近期在Rebecca在她的第二次个展《天上不会掉馅饼》中展示了其研究成果。

Rebecca Jensen的艺术实践是多领域的,其作品也经常使用“文字”为创作媒介。她的作品有着古灵精怪的特质,通过日常幽默言语,以及俳句的形式来探索其研究主题。她也希望能通过她的作品,再一次更加严肃地讨论和调查了澳大利亚和中国的某种社会现象。

Rebecca Jensen的创作常常表达了一种“慢过程”的概念,融合了传统的活字印刷技法等需要大量时间投入的创作方式,并利用传统机械或手工的创作模式直接与数字时代的即时性创作形成鲜明对比。

Heaven Won't Throw You a Meat Pie, 2017, Umbrellas, Embroidered QR codes, Letterpress, Sound Recordings

Heaven Won't Throw You a Meat Pie, 2017, Umbrellas, Embroidered QR codes, Letterpress, Sound Recordings

Heaven Won't Throw You a Meat Pie, 2017, Umbrellas, Embroidered QR codes, Letterpress, Sound Recordings

Based on the sewing circle, a historic form of women’s congregation in both Chinese and European history, this work brought together participants to discuss what it means to be a woman in China. In particular, the discussions aimed to expand on the immense social pressure women experience to achieve both academically and professionally while contending with the traditional expectations of a wife/ mother. In reality, the discussions expanded beyond this and delved into other topics such as the increased sexual violence divorced women experience. The sewing circles functioned as an intimate space for discussion and through embroidering QR codes gave each participant an online platform to expand the conversation. In this way, the conversation begins small but can be amplified.

Originally adapted from the male garment by young urban educated women as an act of subversion, the early Qipao fell in line with the ‘boyish’ silhouette of 1920s European fashion. Though the fashion in Europe was an act of defiance against the figure-defining corset, the longstanding tradition in China of breast binding meant the garment conformed to, rather than contested, existing beauty standards. By using the Qipao as the basis for these conversations women were encouraged to be intersectional and consider that what is emancipating for one woman, is a constraint for another.