Born: 27-3-1964, Melbourne, Australia
Currently based in Doha, Qatar
Jennifer Pinder’s color and texture saturated works are exhibited from New York to Sydney; and hang in boardrooms, homes, public spaces and offices across the United States, Australia, Qatar, Germany and Belgium, a testimony to the compelling, startling and evocative nature of her pieces.
Having had a successful career in the fashion industry in her native Australia before turning to art fulltime, Pinder’s appreciation of texture is drawn from her fascination with how patterns and color intersect and overlap in ways that are challenging. The result is a skilful weaving of color and texture, giving the viewer a uniquely personal and sometimes challenging experience.
“I want my paintings to be constantly surprising. They need to be discussed and talked about. It moves me to see someone look at my work, study it then they are drawn back to it again after they walk away because they suddenly see something new or the light changes their perspective,” Pinder reveals.
After a string of successful exhibitions in Australia and the Middle East, Pinder will next be exhibiting at the dynamic Agora Gallery in New York, and the beautiful Estense Castle in Italy.
Up until her move to Qatar in late 2009, Pinder enjoyed a long standing association with the prestigious Australian gallery, the Libby Edwards Galleries (Sydney, Melbourne and Brisbane) exhibiting her works as well as handling commissions for high profile clients. Her clients have included one of the world’s finest five star resorts, Hayman Island in Queensland, where her work was commissioned for the public spaces.
In January 2011, Pinder held her first Middle East-based exhibition, “Unique Perspectives” at the art space at the Grand Hyatt Doha. The exhibition opening drew the biggest crowd ever at the space with a host of dignitaries from across the Middle East in attendance.
In February/March 2012 Pinder’s paintings will be on exhibition at the Agora Gallery, situated in the heart of New York’s art district.
The following month, Pinder has been invited to exhibit at the ‘Liberated Dreams’ annual International Art Exhibition in Ferrara, Italy.
After establishing herself as an artistic force internationally, Pinder now brings her unique perspective to her new home in Qatar and has drawn on her reaction to the landscape and architecture that surrounds her for her most recent works. Now living amongst the stark, flat and washed out landscapes of Doha, Pinder’s medium is oil on canvas and are large scale pieces stretching 150cms by 150cms are drenched in color.
“My work is inspired by the deception of simplicity. About how something that appears uncomplicated at first glance can change and transform depending on your perspective and point of view or how someone can manipulated it. This is what draws me to painting and to working with color and textures and playing with perceptions,” she says of her work.
For the viewer, seeing her paintings from a distance gives a completely different perspective and appreciation than seeing them up close.
“I paint for the senses – for sight and for touch. Mine isn’t work that you can take in at first glance. I want to give the viewer an experience, something that they have to work at when they see my pieces. They can come up close and see one aspect, then move away and see something completely different. I believe that is what art should be about – an experience,” Pinder says.
“My creative process is very much about taking a simple pattern and turning it on its head by using layers, intersecting, overlapping on each other. It is also about creating a rhythm, whether that is interlocking swirls or overlapping threads. How they interconnect and play off each other and even grow and change fascinates me.
“Color, either as a single shade or as part of a diverse palette, can really surprise and inspire someone. As an artist, to see my work have that effect is very profound,” she says. “By layering colors and patterns I can create three and four dimensional pieces. I achieve this by playing with simple patterns. This can be really deceptive to the eye,” she says.
Even seemingly perfect patterns and constructions can contain imperfections which add to their beauty and intrigue.
“I’m drawn to subtle imperfections of a simple pattern and have always found it intriguing that it’s the imperfections that capture the observer, how they can throw them off-guard.”