Jennifer is an art student currently finishing her third year of study at Duncan of Jordanstone College of Art and Design, Dundee. Her work centres her experience of queer femininity and Femme identity, drawing influence from Drag. Her interdisciplinary practice examines the relationships between paint, transparency, and textile as they interconnect through mixed media pieces and collections that incorporate costume design alongside her paintings. She has previously worked in installation: the work ‘FEMME’ 2024 combined oil paintings, found objects, and setting to create a ‘dressing room’ style space inspired by performer and queer icon Amanda Lepore. Currently she is working on series of oil paintings featuring the feminine nude contained within the walls of a shell, inspired by the connection between feminine melancholy and the ocean, serving as a reaction to the lack of protection for feminine bodies that exist outside of the prescribed standard of ‘womanhood’.

See Jennifer’s works as part of our annual Spring open call, Keep Your Eye on the Doughnut, Not the Hole, which runs April 3rd to 24th, featuring an incredible collection of works by thirty artists leaning into joy, curiosity, and the often surreal pleasure of focusing on what is rather than what isn’t, in a myriad of mediums.

Hi Jennifer! Can you tell us, how did your artistic journey start?
Art always provided an escape for me during my time at school, it was, and still is, what I turn to when I feel down. At college I had the privilege of being taught by the most supportive art department that anyone could ask for. Their constant encouragement pushed me to take up space and gave me the confidence to pursue art into higher education and a future career. Without them I wouldn’t have reached the level of skill and self-belief that I have now. I still hear their voices in my head during every step of my artistic process, keeping me to the standard that I hope they would be proud of.

How did you arrive at the theme of your work?
My practice is often very introspective, examining my own relationship with gender and how it relates to my life and the broader political implications of being a feminine person that doesn’t centre patriarchal ideals. I draw inspiration from unapologetic queer femmes: drag queens, trans women, and femme lesbians. I love the campy and kitsch aesthetics of women that are seen as ‘too much’ and I lean into this extravagance in my work.

How has your practice changed over time?
My practice initially focused more on feminine aesthetics without much deeper political commentary but as I began to develop a better understanding of my own identity and the perception of the women and femme people that I have always looked up to I realised more clearly the importance of making a statement on the value of femininity in the current climate.

Which artists inspire you? Are there non-artistic influences such as literature or music that impact your work?
My art and my life are both heavily inspired by the expression of queer femininity. Though they are often not considered to be ‘artists’ in the traditional sense my work is inspired by Amanda Lepore, Elvira, and Sasha Velour predominantly. Stylistically my use of colour and brushstroke are often more inspired by makeup application than by traditional painters; although I often look to the Vienna Secession movement for more a more classical influence on my painting practice.

Can you elaborate on the significance or symbolism of the title of your work?
The title of my series of work ‘PAINTED’ as featured in this exhibition is inspired by queer slang: to say that someone is painted often refers to a drag queen or femme person wearing heavy amounts of well applied makeup, it is viewed as complimentary to a queen’s makeup abilities. It holds dual meaning as in more straight spaces it would be seen as a more insulting term, for instance the archetype of the ‘overpainted woman’ criticises a woman’s use of makeup – likening her to a clown-like figure. This alludes to the dichotomy between the beauty standards for feminine presenting people in queer and heterosexual spaces respectively.

Will your next project be a continuation of your current style or are you experimenting with something different? Can you share a glimpse of your next project?
My current project is a departure from the more joyous attitude of the PAINTED series. In my present studio practice I am taking a more vulnerable approach to the presentation of femininity: creating a series of paintings and drawings inspired by the connection between the ocean and female melancholy. I am focusing on the feminine body and the lack of protection it faces in the current climate.

Find out more about Jennifer’s work on Instagram. Keep Your Eye on the Doughnut, Not the Hole runs at Six Foot Gallery until Thursday 24th April 2025.