Amy Jenkins: ARTWORKS

Milky-Milk ©2005-2010
A tiny LCD video monitor showing a life-sized breast viewed from below is suspended just above head-height. Perilously clinging to the nipple is a single droplet of milk, which in a matter of minutes falls from the nipple and obscures the view of the breast.

Give (Work-in-progress) ©2005
Shown on a large LCD panel placed on the floor, Give addresses the complexities of self-protection, nurturing, and sexuality. The view presented is a recumbent woman seen from above, who slowly and sensually removes from her mouth what appears to be her entrails, and lays them upon her belly.

Nightfeedings ©2005
The installation Nightfeedings features a miniature glass bed, precariously suspended as if free-floating. Seamlessly projected onto the glass bed’s surface is a video of an infant awakening at night, and then comforted and nursed back to sleep by her mother.

Tug ©2005
Tug is a three-channel video installation representing the interplay of tension and harmony within parenthood. A man and a woman struggle at tug-of-war in a life-sized, diptych projection, while on a separate, wall-mounted monitor a toddler dances, sings, implores mama and dada and shuttles between them.

Shitfit ©2003
Shitfit combines a sculptural element with video. In Shitfit, a wall-mounted, miniature door containing a small lens reveals a video of a child’s bedroom interior, giving the impression of peering into a room behind the door.

Without © 2001
Without is a video installation in which a 5 by 6.6 foot projection is cast upon the ceiling of an intimate, darkened room. The video projector is hidden beneath a false floor, and there are floor mats and pillows for two viewers.

Her Majesty’s Request ©2000
Her Majesty’s Request combines a sculptural element with video. From afar, Her Majesty’s Request appears to be a child-sized Chippendale-style chair with a plush, red velvet cushion. Drawing nearer, the viewer may begin to hear quiet kissing and slurping sounds which beckon for closer inspection.

Shelter for Daydreaming ©2000
Shelter for Daydreaming is a two-channel video which invokes the netherworld of “In-Betweeness.” Projected large-scale onto a free standing, “floating” wall centered within the gallery, the first channel of video shows a small house seemingly suspended in an aqueous region which is without gravity, yet is somehow tethered to the movement of the underside of waves.

Almost Home ©1998
A video installation with three channels of video and audio. Based upon the memories and dreams we associate with our past, present and future homes, Almost Home is a triptych of large-scale projections showing miniature, handmade houses.

Pitch and Roll ©1998
Pages from the artist’s teenage journal scroll slowly across two small LCD monitors which rotate back to back on a stand in the center of the room, revealing her thirteen-year-old quips and quandaries. She “frenches” a boy for the first time and bemoans the fact that the same week her father gave away her backyard swingset.

Ebb ©1996
The projected image of blood-clouded water fills a miniature tub into which a woman climbs, crossing the static bounds of space and object. Slowly, one begins to notice the blood recede into her body, the water clearing.

Trapped Wasp ©1998
Home is portrayed as a place for potential entrapment. On the wall in a small, darkened room hangs an 11 x 14 inch gold-leaf oval frame. Rear-projected within the frame is a portrait of a bride, with a larger-than-life sized wasp seemingly trapped within the frame.

How to Pee Like A Boy ©1996
We illicitly land in the Men’s room, in front of an unenclosed toilet bowl. The projection fills the miniature bowl hung on the wall and spills onto the floor below.

Please ©1996:
The image of a man and woman is projected onto a miniature wrought-iron bed. The female character achingly expresses her desire for her mate, but is met with rejection. Their fulfillment is incomplete, and our desire is likewise thwarted.

Pocket ©1996
A mouth is projected onto a smaller-than-life-sized man’s button-down shirt. The girl slides her finger in and out of the boy’s mouth in exploration and in penetration.

House I ©1995
A tiny video monitor is contained within a paper house. The video shows a slow-motion tour through the narrator’s childhood home, while she recounts stories of her childhood auto-sexual experiments room by room

99.9% Sure ©2000
99.9% Sure enters the uneasy yet intoxicating world of new-found love. The short vignette of anticipation and intimacy unfolds through gestures showing only the hands and mouths of the two characters.

Bedroom Waltz (Work-in-progress) ©2006
Bedroom Waltz is a video incorporated into a sculpture. A five-inch LCD monitor sits atop a five-foot pole, with a wire house suspended over the monitor

We, Precarious (Work-in-progress) ©2006
We, Precarious is a multiple channel video installation which describes the circular continuum of life from before birth to death and back again. Central to its theme is the trilogy of Mother, Sister and Daughter.