Farley's East, Oakland, CA 2016
Shire City Sanctuary, MA 2015
Anvil Gallery, Kingston, NY 2014
In response to the hyper-competitive art game, Cindy Hoose and Jacinta Bunnell played with their art to create the 52 pieces in your turn, dear, taking turns on each painting in a manner reminiscent of Exquisite Corpse. Their work directs our attention to the reasons we play games: to explore the world imaginatively, free of the hope for success or the fear of failure, and to connect with each other in the spirit of joy and sentimentality.
In taking turns painting, Hoose and Bunnell had to forego the solo artist’s executive authority, risking each move to the counterplay of the other player, and enter into the uncertainty of outcome essential to all games. From firehouse bingo to Mah Jongg, games have functioned to educate, entertain, transmit tradition and facilitate human communion throughout history: your turn, dear celebrates this ongoing history and longs for a time and place where being social does not involve technology.
Hoose and Bunnell spent 52 weeks working with 52 vintage game boards-turned-canvases. In keeping with their commitment to make art from recycled materials, they scavenged yard sales and thrift stores for games and framing materials which became a series of paintings exploring the concept of play. Just as games can serve as a counterbalance to employment, where the worries of competition and promotion can dominate, the playful paintings in this show counteract the creeping contrivance of cultural art.
KMOCA (Kingston Museum of Contemporary Arts), 2010
Inspired by the artwork of the children in her life, Hudson Valley artist Jacinta Bunnell presented a collection of mixed media paintings created over the course of one year. This show featured all new work, shown alongside the drawings of young artists that influenced her art.
Shy as a Shrimp is a series of mixed media paintings inspired by the artwork of children in my life. Over the course of one year I set out to paint pirates, monsters, cats, monster cats, airplanes, foxes and other fancy creatures. Children often give me art as a way of marking the end of our days together or to express friendship. When I receive the gift of art made by a young person it is as big a gift as any to me. I have included some of this artwork in the show and paired it with paintings of mine directly inspired by each drawing.
Children are amazing teachers. They laugh easily, they tell you openly what they think of you, and they create art with exceptional depth and expression. Children make art without trying to get paid or get famous. They typically do not dwell on whether art is good or bad. I found myself amazed each day I spent with their drawings. I gave myself exactly one year to complete these paintings and through my study I once and for all settled the argument about whether unicorns are real. They are. We have all met one at least once.
Besides a nursery school scrapbook, I have only one piece of art that I created as a child. And I had no idea it existed until very recently. My grandmother had saved it since 1975 and gave it back to me when we were cleaning her house together a few years ago. I included this drawing in my study as well. Jumping into my own art, some thirty years later, proved to be a most surreal experience. By doing so I found myself back at the kitchen table in Glenburn, Pennsylvania, the sights and sounds of my childhood home rushing back in. While working with my nieces’ Keetin Cheung and Zia Lawrence’s drawings, I was swept back to the innumerable hours I spent with each of them drawing at the dining room table, catching up and laughing hard. While studying the art of Storey Littleton and Max Cohen, I reflected deeply on my first sweet year as an assistant teacher at High Meadow School.
I am proud to share the gallery walls with each of these friends, all of them tightly embraced in my heart in their own unique way. The following people served as my guides and mentors throughout this incredible journey:
Thank you to them and to each of you. My life is better for knowing you.
TeamLove Ravenhouse Gallery, 2013
Secret City, Woodstock 2016
These original drawings are a collaboration between Jacinta Bunnell and her step-father, Ed Antoine. Ed supplies Jacinta with daily score sheets from 13, a rummy card game brought back to their family in the 1970s from Jacinta’s maternal grandparents. The game was imported from Ocean Breeze Trailer Park, Shirley and Bill Browning’s retirement community in Jensen Beach, Florida. Jacinta adds color and pattern to Ed’s neatly crafted grid work tally sheets to create this artwork.
At the time of its incorporation, this 45-acre park was said to be the largest privately owned trailer park in the United States. This charming community where Shirley and Bill spent their winters represents a bygone era in Florida’s history, with it’s small cottages and trailers, community bath and laundry rooms, and an entire building devoted to neighborhood games. Much of the rest of Florida’s coasts have since been permeated with large mansions and condominiums. Dorothy Geeben was mayor of Ocean Breeze from 2001-11. When she was re-elected in 2004 at the age of 96, she was the oldest living mayor in the US. The residents of the town are among the few in the area who still receive mail delivered to their front doors instead of curbside.
Jacinta’s family continues to play 13 every day and have developed a tight community of friends who stop by for games every weekend.
SUNY Ulster, Stone Ridge, NY 2013
Curated by Keiko Sono
The exhibit illustrated the richness and vibrancy of the arts community of the Hudson Valley, while actively contributing to such richness by making and strengthening connections within and beyond the arts community. The installation showed small segments of the artists’ lives, such as a transplanted corner of an artist’s studio and a sampling of wardrobe from another’s closet, demonstrating that creativity is not confined to finished products. Participating artists included Christy Rupp, Kathy Ruttenberg, Neal Hollinger, Jacinta Bunnell, Polly Law, Beth Humphrey, Ken Greene, Wayne Montecalvo, Anne Gorrick, Dean Jones and Marlon DuBois.
Rosendale Cafe, 2008
This show was an artistic duet. Jacinta Bunnell and Cindy Hoose collaborated closely, sharing themes, color schemes, content and materials. While each of their work was done separately in their own studios, close planning and communication led to an engaging mirroring of styles and ideas. When Cindy and Jacinta come together, they can transform everyday materials into anything tangentially related to mythological creatures and baby animals, made up of found fabric scraps, lime green paint and vintage buttons. Each pair of paintings read like a carnival side show at Noah's ark.
Jacinta collects found ephemera such as playing cards and vintage flashcards and uses them to create miniature paintings.
Huguenot Street Farm, 2012
Pea Pods is a permanent installation in the CSA distribution barn at Huguenot Street Farm. Using historical documents, Pea Pods tells part of the story of Huguenot Street Farm in New Paltz. Long time CSA member, Jacinta Bunnell, spent one summer gathering deeds, maps and documents from the Hasbrouck family, the founders of Huguenot Street Farm CSA, as well as the Huguenot Historic Street Society and Ulster County Clerk's Office. Land auction papers, a treaty signed by the Munsee Indians and Open Space Institute maps are transformed into a dynamic abstract representation of the farm. As the farm itself asks us to know where our food comes from, this wall installation wants us to know what this land is, who was here, what happened here before us. This project was made possible by the support of Jeremy Mindich, Kate and Ron Khosla, Yess Construction, Michael Asbill, Michael Wilcock, Haviland-Heidgerd Historical Collection, Jody Abbott, Bibi Sandstrom, the Hasbrouck family, Huguenot Historic Street, Ulster County Clerk's Office and then-Mayor Jason West.
Allegheny College, 2010
The artists invited to participate in this exhibition presented diverse experiences of gender, sexuality and ethnicity. Though each of the artists works toward different specific ends, what united them is a refusal to conform to banal and limiting myths about prevailing systems of political representation, discourse, and their categorized place(s) within those systems. Their works question the complicated ways in which ideological hierarchies serve to distribute power, privilege and opportunity. Jacinta presented her coloring books as large posters for the museum-goers to collaboratively color in over the course of the exhibit.
A collection of mixed media paintings, collages, and drawings by Jacinta Bunnell. Working from a giant collection of found paper and ephemera gathered since she was a child, this collection represents many different styles of work completed in the last decade. Contact the artist for availability and commissions.