“Timelapse” at Benrath Palace, Düsseldorf, 2016 — image copyright and courtesy of Günter von Ameln
“Timeframe” at York St. Mary’s, York, UK, 2016 — image copyright and courtesy of Jim Poyner
“White Open” at Kunstmuseum Gelsenkirchen, 2016
“Passage” at Galerie Voss, Düsseldorf, 2016
“In-between” at Setareh Gallery, Düsseldorf, 2015 — image copyright and courtesy of Achim Kukulies
“Interspace” at PwC, Düsseldorf, 2015
“Interspace” at PwC, Düsseldorf, 2015
“Two” at Neuss City Exhibition Space, Neuss, 2015 — image copyright and courtesy of Gabi Luigs
“Draw the Line” at Kunstakademie Düsseldorf, 2015 — image copyright and courtesy of Markus Luigs
Installations 2015—2016
Installazione, Astratto geometrico, Materiale organico, 600x600x200cm
Site-specific installations by Jennifer López Ayala (measurements vary)
# 2015:
“Draw the line” at Kunstakademie Düsseldorf, Düsseldorf, Germany —
eggshells, black floor coating, black dispersion paint — c. 10 m × 10 m × 2 m
“Two” at Neuss City Exhibition Space, Neuss, Germany —
eggshells, window films, spotlights, pedestals — 2 × c. 4 m × 5 m × 1 m
“Interspace” at PwC, Düsseldorf, Germany —
eggshells, mirror films — c. 9.8 m × 7.8 m × 3.6 m
“In-between” at Setareh Gallery, Düsseldorf, Germany —
eggshells — c. 4 m × 3 m
# 2016:
“Timeframe” at York St. Mary’s, York, UK —
eggshells — c. 2 × 11 m × 2.3 m
“White Open” at Kunstmuseum Gelsenkirchen, Gelsenkirchen, Germany —
eggshells — c. 10.5 m × 7 m
“Passage” at Galerie Voss, Düsseldorf, Germany —
eggshells — 2 × c. 4 m × 1.8 m
“Timelapse” at Benrath Palace, Düsseldorf, Germany —
eggshells — c. 4.5 m × 4.5 m × 0.2 m
(For further details on each piece and for additional views, please see the individual artwork pages or visit http://www.jlpz.de/)
As an interdisciplinary artist, I research in different genres the small gap between the composition and the decomposition of pictures, finding extraordinary transitions and transformations in the process.
By using up to 100,000 broken eggshells in my installations, I create a multitude of different shades of white in the exhibition space as rays of light will be broken at the innumerable sharp edges of the shells—a flittering magical moment, citing an optical phenomenon like the graphic alternation of light and dark in drawings or the pointillists’ refined approach to depicting light: a spatial painting.
The mental image of the everyday object, “eggshell”, is thus psychologically redefined: it appears like a white sea of soft flowers in the installation.
Additionally, I involve the spectator himself and his body into the architecture of the exhibition: the room is purposefully modified with paint and film to dissolve the structure of the prevailing architecture and the medium. The exhibition space becomes the art space and the artwork leaves the picture plane, while the spectator physically enters it. During this development, the organization and re-organization of the picture and its surroundings gains ever more importance, which finally leads to the philosophical question, “Who or what is the material of the picture? You, myself, the egg, or the space?”
Each single installation is devised specifically for its exhibition space. The analysis of spatial axes, energies and architectural details serves as the foundation for the further synthesis of concept variations. Both a virtual 3D and/or physical scale model of the sites is regularly created to enable the design of different conceptual variations based on the preceding architectural analysis, one of which is then chosen to be clarified and elaborated into the final piece.
# 2015:
“Draw the line” at Kunstakademie Düsseldorf, Düsseldorf, Germany —
eggshells, black floor coating, black dispersion paint — c. 10 m × 10 m × 2 m
“Two” at Neuss City Exhibition Space, Neuss, Germany —
eggshells, window films, spotlights, pedestals — 2 × c. 4 m × 5 m × 1 m
“Interspace” at PwC, Düsseldorf, Germany —
eggshells, mirror films — c. 9.8 m × 7.8 m × 3.6 m
“In-between” at Setareh Gallery, Düsseldorf, Germany —
eggshells — c. 4 m × 3 m
# 2016:
“Timeframe” at York St. Mary’s, York, UK —
eggshells — c. 2 × 11 m × 2.3 m
“White Open” at Kunstmuseum Gelsenkirchen, Gelsenkirchen, Germany —
eggshells — c. 10.5 m × 7 m
“Passage” at Galerie Voss, Düsseldorf, Germany —
eggshells — 2 × c. 4 m × 1.8 m
“Timelapse” at Benrath Palace, Düsseldorf, Germany —
eggshells — c. 4.5 m × 4.5 m × 0.2 m
(For further details on each piece and for additional views, please see the individual artwork pages or visit http://www.jlpz.de/)
As an interdisciplinary artist, I research in different genres the small gap between the composition and the decomposition of pictures, finding extraordinary transitions and transformations in the process.
By using up to 100,000 broken eggshells in my installations, I create a multitude of different shades of white in the exhibition space as rays of light will be broken at the innumerable sharp edges of the shells—a flittering magical moment, citing an optical phenomenon like the graphic alternation of light and dark in drawings or the pointillists’ refined approach to depicting light: a spatial painting.
The mental image of the everyday object, “eggshell”, is thus psychologically redefined: it appears like a white sea of soft flowers in the installation.
Additionally, I involve the spectator himself and his body into the architecture of the exhibition: the room is purposefully modified with paint and film to dissolve the structure of the prevailing architecture and the medium. The exhibition space becomes the art space and the artwork leaves the picture plane, while the spectator physically enters it. During this development, the organization and re-organization of the picture and its surroundings gains ever more importance, which finally leads to the philosophical question, “Who or what is the material of the picture? You, myself, the egg, or the space?”
Each single installation is devised specifically for its exhibition space. The analysis of spatial axes, energies and architectural details serves as the foundation for the further synthesis of concept variations. Both a virtual 3D and/or physical scale model of the sites is regularly created to enable the design of different conceptual variations based on the preceding architectural analysis, one of which is then chosen to be clarified and elaborated into the final piece.
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