
A Closer Look: JENNIFER GUNLOCK "TRANSPLANTS"
TRANSPLANTS is an exhibition by Los Angeles artist Jennifer Gunlock that reflects on the ever present alteration of our wildlands due to human manipulation, whether through clear-cutting and construction, imposed infrastructure, or the removal, relocation, and domestication of plants and animals. By employing collage, drawing, and video animation, Gunlock constructs landscapes that comment on our direct impact on the environment, and reveals Earth’s interminable shapeshifting over its long life.
"The artworks reveal when a landscape has been transformed…" - Jennifer Gunlock
As the title implies, this exhibition of work by Los Angeles artist Jennifer Gunlock (b. 1972) reflects on the ever-present alteration of our wildlands due to human manipulation, whether through clear-cutting and construction, imposed infrastructure, or the removal, relocation, and domestication of plants and animals. Intentionally introduced plants, like Australian eucalyptus trees (planted in California in the late 19th century to act as wind breaks) and now aging one hundred-year-old Mexican fan palms (planted to fulfill Westerner’s fantasies of oriental exoticism) often contribute to the destruction of their adopted habitats, like adding fuel to wildfires.
Growing up in the suburbs of Southern California, over the decades Gunlock observed her local wildland being replaced with houses and strip malls, and the towers of Downtown Los Angeles sprouting upward and growing denser like weeds after a wet winter. Her region’s dry climate, recurring droughts and recent floods, and increase in wildfire superstorms are her immediate experiences pertaining to the global issue of climate change, and how that acceleration of the change is a direct result of human impact.
By incorporating photographs taken on her travels with decorative papers and colored pencil—as well as digitally collaged into video animations—Gunlock constructs landscapes that are marked by infrastructure such as mines, oil wells, cell phone towers disguised as trees, and buildings for habitation. The work not only comments on our direct impact on the environment, but it also reflects on Earth’s interminable shapeshifting over the long period of its existence.
Below is a link to a brief snapshot of two videos the artist made related to this body of work reflecting on the Los Angeles River, which will be included in the exhibition "OUR RIVER: Floodplain and Future" at Shatto Gallery in LA that features Jennifer Gunlock.
The videos are portraits of two wetland habitats along the river: Long Beach and Elysian Valley; and the videos draw attention to the variety of bird species that inhabits each location, a history of oil drilling along the river, and the river of commerce that flows along the LA basin.
View these video works at: https://youtu.be/5yu_T9N5mgk?si=2SAHnKYBIJyqm9tc
For a virtual view of this exhibition, click here now: https://bit.ly/44Lqxcr
View the TRANSPLANTS exhibition on ARTSY at: https://bit.ly/3SPdLlP
So, introduce us to the show. What was your plan for its design?
I wanted to display a range of works in my art practice, from collage-drawings to video animations. There were wall-mounted video monitors as well as projected moving images that really activated the space. The artworks reveal a moment in time when a landscape has been transformed, and the time-based videos reveal the occurrence of that change. It was exciting to see artworks and videos that have never before been displayed together communicating with each other in interesting ways.

Backcountry VI (2022)
What is the first work you want to show us? What is it about?
In the front of the gallery is a pair of artworks that I really enjoyed seeing together: Backcountry VI (2022) and Outback (2018). Outback was made during a 4-week artist residency at PLAYA in the Oregon high desert. I brought several sheets of paper with me, allowing the size of the studio wall to determine how big I could make the piece, and letting the local landscape shape the composition. I then inserted eyelets in the corners of each sheet so that it can be mounted with drywall screws.

Backcountry VI (2022) and Outback (2018)
It’s an interesting, unusual composition. What is it about?
While working on it at PLAYA, a class of school children visited my studio. When I asked them what they saw in the composition, one boy answered, “A trash tree!” I loved that answer! He immediately locked into its meaning. Outback speaks to deserts tending to be regarded as distant, unseen, dead spaces, allowing for our collective disregard to give industry permission to exploit the land.

Outback (2018)
In this and in Backcountry VI, where do you source your photographs?
All of photographic elements come from my own camera. For me, they’re like hidden travel diaries. For example, in Backcountry VI, the green grass and naked branches are all derived from a single photograph of a hawthorn tree I shot in Ireland in 2019. That trip imprinted on me very deeply, and every work in my Backcountry series makes reference to that beautifully green, boggy, and haunted landscape. By the way, these two panels can either be hung together or spaced a few inches apart.

Artist Photo of a Tree in Ireland
What about the industrial-looking image bits? Where do they come from?
The building-bits come from my home region around Los Angeles. I previously lived in the port city of Long Beach, and while there, I drove around and photographed the busy, industrial Port of LA and of a massive bridge construction project.
The bright, orange lines you see in many of my pieces come from a photo of a security gate in Chinatown. I use it often, as I’m attracted to its energy and almost violent presence.

Artist Photo of Bridge Construction in Long Beach, CA
What are you next going to show us?
Here, in the center of the gallery is the triptych Backcountry III, I, II (2020-21). I started on this in the months after my return from Ireland and when covid appeared on the global stage. California was in the midst of a drought, and I was longing for the boldly green Irish landscape. Each panel was made as an individual piece, but I soon decided they could also combine to create one long composition. The hawthorn tree I mentioned earlier and images of the industrial port are in here, too.

Backcountry III, I, II (2020-21)
Let’s look at one more. What can you tell us about Sapling IV (2023)?
This is one of three Saplings that I made a couple years ago, all of which are in the show. As is typical in my practice, I also employ rice paper in the collage, which sometimes has a transparent effect, and I use colored pencil to shade and refine. I like how in this one a branch appears to break out of the panel and reach out to you.
I hope you enjoy virtually exploring my show. It was a pleasure to work with the staff and students, who did an excellent job installing it!

Sapling IV (2023)



