Hi
I don’t so much create artworks as run with art in a creative workout. My work ranges across the intermedial landscape (physical and digital) claiming space for experimentation, communication, commentary, and open-ended engagement.
2023 Blowin in the Wind – Boot Art 6
Artwork by Jeanelle Hurst
In trying to take stock of who and what I am as an artist in both the past and the present and within the parameters of the violence I’ve experienced as a woman I find myself producing works and projects percolating and commenting on the conundrum of power and the politics of personal and public space.
1986 Viva Reconnoitre – The Demolition Show
Performance Pic above + found image for performance promotion below
Artwork by Jeanelle Hurst
As a teenager survival meant navigating the misogynistic maze and living with the invasion of personal space.
As a 21-year-old I experienced the power of a police state as the premier of Qld waged his culture war and territorial disputes over the streets of Brisbane.
As a woman, I have no interest in monument building and no affinity with nor allegiance to the history of art and the art of history that ignored, sidelined, and appropriated women.
1984 Hair Lip Lick Television – One Flat George St Branch Artwork Jeanelle Hurst
1992 Polymedia Car Construction – First Fringe Festival
Artwork by Russell Lake & Jeanelle Hurst
As an artist, I try to keep my footprint light and strategize works and projects within the domains of ephemeral, transient and provisional arts practice.
1983 Paper Crush – One Flat George St Branch
Artwork by Jeanelle Hurst
1982 Aquarium – George St
Artwork by Jeanelle Hurst
I have a DIY / BYO orientation that stems from hands-on creative skill set acquisition. Three years at college training in the foundations of sculpture, printmaking, photography, drawing, painting, and film and TV followed by four years of freewheeling in collaborative artist-run initiatives pumping out installations, performances, films, videos, zines and interventions provided me with an extensive intermedial tool kit and the foundations to start to explore my practice.
2020 Small Stuff in a Big World
Designer / Coordinator Jeanelle Hurst
I’ve never had an interest in working within the gallery ecosystem. My experiences and interests lie in the interconnectedness of urban and digital spaces and the elements of structure, movement, signage, lighting, sound, time signatures, weather patterns, human intention, scale, movement, pattern, virality, and flow.
1988 Highrise Wallpaper – InterFace Project
Artwork by Jeanelle Hurst
My early work in this area was driven by anger and problem-solving strategies… I was reacting to my experiences and in search of environments that would afford me equity + a level playing field, and allow me to work regionally by connecting the local to the global.
In 1985 I started researching the building blocks of interactivity and connectivity within real-world applications – public art strategies incorporating digital and online communications tools in a pre-internet world.
1986 Map of the World Revised Edition – Know Your Product
Adam Wolter & Jeanelle Hurst
1986 O’flate Studios – Viatel
Australia’s National Videotex Service
Designer Jeanelle Hurst
Outdoor Art Drive-In 1986 was the the first project off the rank aligning the building blocks of interactivity & connectivity with a physical site – a car park in Brisbane city.
1986 Outdoor Art Drive-In
Designer Coordinator Jeanelle Hurst
2023 Beautiful Data Dangerous DNA
2023 The Trauma Project
2022 Small Car Big Plants Boot Art 4
Artwork Jeanelle Hurst
2023 Poster Boot Art 5
2023 In the Real Estate of the #
Outdoor Art Drive-In 86 became the test run for InterFace 88 which was funded in part by the Australian Bicentennial Authority as one of 5 contemporary art space projects across Australia.
The Interface Project gained recognition when it was presented at the First International Symposium on Electronic Art (ISEA) during the Networking in the Arts Workshop in Utrecht, Holland in 1988. Subsequently, I received an invitation from Carl Loeffler, Director of Art Com based in San Francisco, to present the Interface Project at the NCGA Arts’89 Conference panel titled “The Shaping of Tele-Culture” held at San Jose University, California, USA.
1988 InterFace Project
Designer Coordinator Jeanelle Hurst
As I waited out a future where images could be uploaded to the emerging internet I explored urban redevelopment strategies and community festivals before developing a public art strategy in 92 to embed monitors in streetscapes and buildings sourcing both pre-recorded and online content.
1992 Public Art Strategy
Artwork concept designs Jeanelle Hurst
The first phase of my art working career ended in 93 when I found myself entrapped in the war zone of domestic violence. I returned to my art-working life in 2015 undertaking a diploma in graphic design in order to bring myself up to speed in the online world.
Moving forward I’m interested in exploring a wireframe approach to urban space grafting & splicing strategies to elements in order to explore connection and caring to country despite the legacy of urban centres as epicentres of imperialism & colonialism – sites of dispossession destruction and displacement and as wastelands for flora and fauna.
I believe also in the necessity to remain grounded within the physical world as we face the challenges of AI, surveillance technologies/ideology, and climate change.
My interest in the digital world is multi-pronged… as I tackle the development of the following projects… Beautiful Data Dangerous DNA / The Wall / Black Line Wallpaper / Pinball / Inglorious Trash / In the Real Estate of the #
As these projects develop you will find info here on the site and via the blog… Bye for now
2020 Blackline Wallpaper – ongoing
2020 Inglorious Trash – ongoing
2023 In the Real Estate of the # – underdevelopment
2023 The Wall – underdevelopment
I don’t so much create artworks as run with art in a creative workout. My work ranges across the intermedial landscape (physical and digital) claiming space for experimentation, communication, commentary, and open-ended engagement.
In trying to take stock of who and what I am as an artist in both the past and the present and within the parameters of the violence I’ve experienced as a woman I find myself producing works and projects percolating and commenting on the conundrum of power and the politics of personal and public space.
1986 Viva Reconnoitre – The Demolition Show
Performance pic above
Found image for performance promo below
Artwork by Jeanelle Hurst
As a teenager survival meant navigating the misogynistic maze and living with the invasion of personal space.
As a 21-year-old I experienced the power of a police state as the premier of Qld waged his culture war and territorial disputes over the streets of Brisbane.
As a woman, I have no interest in monument building and no affinity with nor allegiance to the history of art and the art of history that ignored, sidelined, and appropriated women.
1984 Hair Lip Lick Television – One Flat George St Branch
Artwork Jeanelle Hurst
1983- Paper Crush – One Flat George St Branch
Artwork Jeanelle Hurst
As an artist, I try to keep my footprint light and strategize works and projects within the domains of ephemeral, transient, and provisional arts practice.
2023 Blowin in the Wind – Boot Art 6
Artwork Jeanelle Hurst
1992 Polymedia Car Construction – First Fringe Festival
Artwork by Russell Lake & Jeanelle Hurst
1982 Aquarium – George St
Artwork by Jeanelle Hurst
I have a DIY / BYO orientation that stems from hands-on creative skill set acquisition. Three years at college training in the foundations of sculpture, printmaking, photography, drawing, painting, and film and TV followed by four years of freewheeling in collaborative artist-run initiatives pumping out installations, performances, films, videos, zines and interventions provided me with an extensive intermedial tool kit and the foundations to start to explore my practice.
2020 Small Stuff in a Big World
Designer / Coordinator Jeanelle Hurst
I’ve never had an interest in working within the gallery ecosystem. My experiences and interests lie in the interconnectedness of urban and digital spaces and the elements of structure, movement, signage, lighting, sound, time signatures, weather patterns, human intention, scale, movement, pattern, virality, and flow.
1988 Highrise Wallpaper – InterFace Project
Artwork Jeanelle Hurst
My early work in this area was driven by anger and problem-solving strategies… I was reacting to my experiences and in search of environments that would afford me equity + a level playing field, and allow me to work regionally by connecting the local to the global.
In 1985 I started researching the building blocks of interactivity and connectivity within real-world applications – public art strategies incorporating digital and online communications tools in a pre-internet world.
1986 Map of the World Revised Edition – Know Your Product – IMA
Adam Wolter & Jeanelle Hurst
1986 O’flate Studios – Viatel – Telecom Australia’s Videotex Service
Designer Jeanelle Hurst
Outdoor Art Drive-In 1986 was the first project off the rank aligning the building blocks of interactivity & connectivity with a physical site – a car park in the Brisbane City.
1986 Outdoor Art Drive-In
Designer Co-ordinator Jeanelle Hurst
Outdoor Art Drive-In 86 became the test run and template for InterFace 88 which was funded in part by the Australian Bicentennial Authority as one of 5 contemporary art space projects across Australia.
The Interface Project gained recognition when it was presented at the First International Symposium on Electronic Art (ISEA) during the Networking in the Arts Workshop in Utrecht, Holland in 1988. Subsequently, I received an invitation from Carl Loeffler, Director of Art Com based in San Francisco, to present the Interface Project at the NCGA Arts’89 Conference panel titled “The Shaping of Tele-Culture” held at San Jose University, California, USA.
1988 InterFace Project
Designer Co-ordinator Jeanelle Hurst
Post the InterFace Project – as I waited out a future where images could be uploaded to the emerging internet I explored urban redevelopment strategies and community festivals before developing a public art strategy in 92 to embed monitors in streetscapes and buildings sourcing both pre-recorded and online content.
1992 Public Art Strategy
Art work concepts Jeanelle Hurst
The first phase of my art working career ended in late 92 when I found myself entrapped in the war zone of domestic violence. I returned to my art-working life in 2015 undertaking a diploma in graphic design in order to bring myself up to speed in the online world.
Beautiful Data Dangerous DNA
Designer Jeanelle Hurst
Moving forward I’m interested in exploring a wireframe approach to urban space grafting and splicing strategies to elements in order to explore connection and caring to urban spaces despite their legacy as epicentres of imperialism & colonialism – sites of dispossession, destruction, and displacement, and wastelands for flora and fauna.
I believe also in the necessity to remain grounded within the physical world as we face the challenges of AI, surveillance technologies/ideology, and climate change.
My interest in the digital world is multi-pronged… as I tackle the development of the following projects… Beautiful Data Dangerous DNA / The Trauma Project / The Wall / Black Line Wallpaper / Pinball / Inglorious Trash / In the Real Estate of the #
As these projects develop you will find info here on the site and via the blog… Bye for now
- All categories
- current work
- past work
1992
Public Art Strategy
Public Art Proposals
1992
Public Art
Polymedia Car Construction
Documentation coming…
1988
Public Art Strategy
InterFace Project
1986
Public Art Strategy
Outdoor Art Drive-In
1986
Art Space
OFlate National Art Safari
Documentation coming…
1985
Art Space
O’Flate Studios
Documentation coming…
1983 – 1984
Art Space
One Flat George St Branch
Documentation coming…
1982
Art Space
One Flat South Brisbane
Documentation coming…
1982
Art Space
Red Comb House
Documentation coming…