Jasmine Murrell is a Brooklyn-based interdisciplinary artist that employs several different mediums to create sculptures, painting, installations and films that blur the line between history and mythology. Her works have been exhibited nationally and internationally for the past decade, in venues such as Museum of Contemporary Art Detroit, MOMA, Bronx Museum AIM, African-American Museum of Art, Witte de With Center for Contemporary Art and The Whitney Museum. Her work has been published in the Art Forum, The New York Times, The Amsterdam News, Metro Times and Hyperallergic.
My process of appropriating and re-contextualizing materials into multiples, seeks, as its objective, to invoke questions about the nature of originality, authorship, authenticity, and uniqueness. Moreover, it reflects the multiplicity of historical constructs of things and places while exposing the disembodiment of the true self, acknowledging the body as collections of multiples beings that collectively create a constant subconscious voice.
The intention of my work is to articulate the black emotional and spiritual body within modern dilemma’s related to psychic and existential annihilation. I am deeply devoted to abstraction and have an interdisciplinary practice that encompasses curating of objects and installation, painting, sculpture, weaving, photography, and sound.
My work demonstrates the unstable and shifting nature of humanity and the inherent ability of all living things to age and transform. I’m interested in the sublime spirit that evolves out of oppressive conditions. I work with middle-aged to elderly people as my muse to critique ideals of beauty and tapping into the collective memory of the black body. My work utilizes throwaway materials and obsolete technologies to invoke a transformative experience around historical erasures. Exploring the multiplicity of things and the body which merging ideas of reality and mythology.
Reference our unconscious associations around the body while critiquing the myth-making false conceptions around beauty and history. The works critique the limited perspectives of blackness and of marginalized communities. It functions as a contribution to a much larger narrative and understanding of culture as sublime resilience.
There are so many political perspectives when the black body entered the frame in any medium. There is a certain history of exploitations and commodification of the black body in film media and even in contemporary art that I’m critiquing. In the western world, dirt is viewed as something that needs to be cleaned and eliminated, rather than celebrated as a substance that gives and sustains life. The pieces are gestures of hope in the midst of impossibility and devastation. My work is an expansion of the black body, which aims to cultivate this vast story of not only resilience but also resounding sublime vitality in the face of annihilation.