Jordan Vinyard, "All the King’s Horses"
8.5’x 7’ x 7’ (each)
Prosthetic silicone, bandage clips, monitors, actuators, electronics
2022
STATEMENT
Technology Dislocates. It pops the pleasant seams and streamline fixtures of our existence and demands recalibration. Mutilated by tiny cameras, filters, and split screens, we have ironically become both posthuman and subhuman. My work is about reestablishing the virtue of the physical body. Consisting of kinetic sculptures, multi-media installations and video/performance, these pieces intentionally create physically instinctive gaps for viewers. From empty benches to installed reactionary sensors, machines appear to pathetically wait for humanity to return. I believe technology can be utilized to re-humanize by prompting an audience to begin asking not, “What is that thing doing?” but rather, “What am I doing that makes that thing do what it's doing?” This engagement is central to the work and acts as an alarum for societal reboot; where viewers are asked to recognize the deep need for humanistic responsibility and presence within a technological culture.
BIO
By challenging society’s prolific button-pushing tendencies, Jordan Vinyard’s kinetic sculptures, installations, and performances satirize the alchemizing effects of technology. Since receiving her MFA from Florida State University, she has exhibited nationally and internationally including at the International Symposium of Electronic Arts in Dubai; The Czong Institute for Contemporary Art Museum, South Korea; The Museum of Contemporary Art in Tucson, Arizona; Art Basel, Miami; The Mint Museum in Charlotte, North Carolina, and many more. She has been the recipient of numerous awards including the Oklahoma Artist Fellowship Award, The United Arts of Florida Grant, and multiple Creative Project Grants from the Oklahoma Visual Arts Coalition. Currently, she is the Dean of Visual and Performing Arts, Associate Professor of Art at the University of Science and Arts of Oklahoma, and Director of Art Wrecker, an experimental space predicated on socially engaged and dialogical forms of art.
8.5’x 7’ x 7’ (each)
Prosthetic silicone, bandage clips, monitors, actuators, electronics
2022
STATEMENT
Technology Dislocates. It pops the pleasant seams and streamline fixtures of our existence and demands recalibration. Mutilated by tiny cameras, filters, and split screens, we have ironically become both posthuman and subhuman. My work is about reestablishing the virtue of the physical body. Consisting of kinetic sculptures, multi-media installations and video/performance, these pieces intentionally create physically instinctive gaps for viewers. From empty benches to installed reactionary sensors, machines appear to pathetically wait for humanity to return. I believe technology can be utilized to re-humanize by prompting an audience to begin asking not, “What is that thing doing?” but rather, “What am I doing that makes that thing do what it's doing?” This engagement is central to the work and acts as an alarum for societal reboot; where viewers are asked to recognize the deep need for humanistic responsibility and presence within a technological culture.
BIO
By challenging society’s prolific button-pushing tendencies, Jordan Vinyard’s kinetic sculptures, installations, and performances satirize the alchemizing effects of technology. Since receiving her MFA from Florida State University, she has exhibited nationally and internationally including at the International Symposium of Electronic Arts in Dubai; The Czong Institute for Contemporary Art Museum, South Korea; The Museum of Contemporary Art in Tucson, Arizona; Art Basel, Miami; The Mint Museum in Charlotte, North Carolina, and many more. She has been the recipient of numerous awards including the Oklahoma Artist Fellowship Award, The United Arts of Florida Grant, and multiple Creative Project Grants from the Oklahoma Visual Arts Coalition. Currently, she is the Dean of Visual and Performing Arts, Associate Professor of Art at the University of Science and Arts of Oklahoma, and Director of Art Wrecker, an experimental space predicated on socially engaged and dialogical forms of art.
8.5’x 7’ x 7’ (each)
Prosthetic silicone, bandage clips, monitors, actuators, electronics
2022
STATEMENT
Technology Dislocates. It pops the pleasant seams and streamline fixtures of our existence and demands recalibration. Mutilated by tiny cameras, filters, and split screens, we have ironically become both posthuman and subhuman. My work is about reestablishing the virtue of the physical body. Consisting of kinetic sculptures, multi-media installations and video/performance, these pieces intentionally create physically instinctive gaps for viewers. From empty benches to installed reactionary sensors, machines appear to pathetically wait for humanity to return. I believe technology can be utilized to re-humanize by prompting an audience to begin asking not, “What is that thing doing?” but rather, “What am I doing that makes that thing do what it's doing?” This engagement is central to the work and acts as an alarum for societal reboot; where viewers are asked to recognize the deep need for humanistic responsibility and presence within a technological culture.
BIO
By challenging society’s prolific button-pushing tendencies, Jordan Vinyard’s kinetic sculptures, installations, and performances satirize the alchemizing effects of technology. Since receiving her MFA from Florida State University, she has exhibited nationally and internationally including at the International Symposium of Electronic Arts in Dubai; The Czong Institute for Contemporary Art Museum, South Korea; The Museum of Contemporary Art in Tucson, Arizona; Art Basel, Miami; The Mint Museum in Charlotte, North Carolina, and many more. She has been the recipient of numerous awards including the Oklahoma Artist Fellowship Award, The United Arts of Florida Grant, and multiple Creative Project Grants from the Oklahoma Visual Arts Coalition. Currently, she is the Dean of Visual and Performing Arts, Associate Professor of Art at the University of Science and Arts of Oklahoma, and Director of Art Wrecker, an experimental space predicated on socially engaged and dialogical forms of art.