Embedded with memory, magnetism and potential, materials have a way of shifting, lingering and re-configuring over, in and outside of measurable increments of time.  Within this interconnected and interdependent vortex of moments, form and space, one can witness both the flattening and differentiation of matter.  It is in these vacuous constructs where environments become geologically and conceptually layered and where one may encounter slippage where humans become objects, objects become land, land becomes human and objects having agency over both. 

Fascinated with how the material and non-material are interconnected and interdependent ecosystems of matter, my work strives to visualize the abstractness of universal arrangements that connect us, while presenting non-linear narratives that play with the ideas of context, reality and the perception of both.  Utilizing the methodology of material complicity, I listen to, follow and allow material agency to arrive at hidden narratives and histories embedded in the media and materials that continue to define, disguise and determine our cultural and individual identities. 


Looking at the intersection of ecology, drawing & textiles, I am now working to escape metaphorical narratives that keep us complicit to colonial, capitalist and patriarchal systems that privilege certain human and non-human bodies over the social, economic, political and environmental well-being of others. Taking an interdisciplinary and theoretical approach to the tradition of landscape, my practice-led research often combines the use of data and working with reclaimed goods to consider the ecological realities of the Anthropocene while critiquing the spectacle of consumerism. 


Currently researching unmaking as a creative act, I have begun to explore how methods of deconstruction and removal can transform the old into the new, the manufactured into the raw or reconfigure narrow understandings of space and place. To read more about my research into unmaking, visit my profile at Queen's University. 

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