Unedited conversations between artist in a productive critique discovering thesis and processes behind the work.
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30 x 24 in.
Inc on Canvas
Home of the Brave, 2016
65 x 78 in.
Hosting Feelings, 2016
8.5 x 14 in.
Watercolor on Paper
Jeffrey Millett is a multidisciplinary artist whose work expands from painting to prototypes, challenging the status quo of specific fields under his investigation. The root of his work finds its foundation in an intensely driven, methodical, analytical process covering the social, economic and political landscapes within urban cities. Currently, his economic research uses public data of specific hedge fund positions to produce tangible, data-driven physical structures and drawings. Taking his own calculated risk, Millett has developed numerous investing strategies, trading options and equities in the stock market. These have become a lucrative venture, and long term benefit to his financial analysis and research, putting his own conceptual thesis at play for real consequences.
My recent work references Colombian parade traditions, that are typically observed during folkloric celebrations throughout the year, in which Jeep vehicles are loaded up with mountains of relics representing a typical Campesino life such as fruit, a portrait of Jesus, Instruments, TV’s, clocks, ponchos, etc. I take this imagery and create bodies bound in the same way to their objects and landscape while also reimagining them as a collected mass. Throughout my years of visiting Colombia, I’ve seen how farmers and street vendors carry their lives on their backs and become some form of new animal which speaks immensely my working concept of identity being manifested into a mass rather than ordered elements.
At the same time, I am playing off the image of the “hysterical girl,” that emerged out of my own alienation from my cultural history. Born in Colombia but raised in the U.S, I’ve had to grapple with the disenfranchisement of being an immigrant in the U.S. while also being culturally excluded from my Colombian ancestry and
particularly feeling conflicted about expectations of gender roles depending on the cultural context (Feminism vs. Machismo). The hysterical girl is the embodiment of identity clashes and the colorful embrace of emotional excess as the physical female body turns in on itself and viscera becomes as tangible as those objects used in Colombian Jeep parades. This hysteria is also her strength, it is the feminine power to express chaos and surrender to everything that overwhelms and consumes her, such as her own body, social conditions, cultural baggage, or personal woes. Whether is she showing the viewer references of women in Velazquez’s paintings on her smart phone or making flags of out vulvas, the hysterical girl inhabits a world in which chaos is the language of the body.
I relate my work to that of the feminine grotesque, which for me is about challenging the male gaze through the act of making art based in a femininity that disrupts notions of what it is to be a woman, and reclaims the female body in art with emphasis on the biological and the clashing of colors making for a bright but visceral portrait. This approach to my work stands in line with the work of other female artists that have disassembled and reinterpreted the body in order to reclaim the feminine experience in contemporary art such as Louise Bourgeois, Eva Hesse, Cecily Brown, Dana Schutz, Jenny Saville,
Cindy Sherman, and Nathalie Djurberg.
Born and raised in Moscow, I started traveling 9 years ago and am living in Brooklyn, NY now. Art took over my life while studying in university (engineer degree) and realizing i won't ever commit to office job. At the moment most of my time goes into photography, yet last year i developed interest in drawing.Always having visuals in my mind that i could not translate into photography, I am very happy right now discovering all different sides of creation.