Jeannie Driver

Jeannie Driver


Jeannie Driver creates installations, sculptures and wall works from the ubiquitous material of waste paper. The relationship between the material and ideas is central to the work and provides an alternative visual and physical experience of the material that references ideas of work, systems, flow, waste and material. The paper Jeannie works with is gathered from her personal archive of 'waste', donations from individuals, or through commissions for site specific/ relevant works.

The process of making work is important from the initial stages to installation:

"The act of shredding is cathartic, the destruction, the change of form creates a new purpose for the material whilst retaining snippets of its former value. I am a reluctant writer and this initial violent act of reduction undertaken in the studio to create a material to work from is both satisfying and humorous. Repetition, time, production and reproduction as themes for contemporary life, are explored through the use of this material; a material that seems to effervesce from all corners of life."

The resulting works are multi-layered both literally and conceptually. The artworks represent an alternative form of data, evidence of work and traces of activity.  Sculptural forms and installations allude to the material's history.  Jeannie often documents the process of making and installing works, revealing production processes from waste to artwork. (see vimeo).

Jeannie’s practice has evolved over many years, in the 1990's- 2000's Jeannie was influenced by Suzanne Lacy and Mary Jane Jacob, among others and undertook many socially engaged projects that explored common issues or objects that everyone had a pre-existing relationship with. Paper first became an interest with her SPIKE IT project, which located 6ft SPIKE files in offices for workers to spike their waste paper, creating time lines of activity and considering office behaviours. The work and the accompanying CCTV films have been exhibited in many venues.

Jeannie has since broadened her interest in paper waste, and shredded waste, developing work in the studio for site-specific installations and gallery contexts. These works retain remnants of peoples work through snippets of visible information. Each work seeks to bring together a multiplicity of times and a history of past iterations. The idea of unknown contributors to works, the hands of others and the papers history forms a link for Jeannie between her journey of socially engaged practice to studio practice, where her interest is increasingly determined by material, form and line whilst maintaining consideration of audience through the scale relationship to the viwer.

Jeannie process is complex, the process of making, the context of exhibition, in both meaning and physicality, is considered. The architectural and spatial elements of galleries/ spaces and how the audiences experience the work governs how she positions installation works and sculptures. This relationship is important to the expression of the work and provides flexibility to adjust the connections between works in different exhibition spaces.


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Location Southsea, South East
Activities Lecturing, Practice-based research, Participatory projects, Project management, Studio practice
Artforms / type of project Project, Installation, Mixed Media, Sculpture
Tags paper, materials, waste, labour, repetition, time, office, work

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