Jordan Buschur comes from a long line of collectors, and her paintings reflect this proclivity towards amassing objects. An artist, educator, and curator, she received an M.F.A. from Brooklyn College, the City University of New York. Her work has been shown in numerous locations, including exhibitions with the Center for Book Arts (New York), Tiger Strikes Asteroid (New York), and the Toledo Museum of Art. She was a community teaching resident at the Bemis Center for Contemporary Arts and the Sheldon Museum of Art and completed residencies at Chashama North, the Kimmel Harding Nelson Center for the Arts, and the Vermont Studio Center. Awards include the Ohio Arts Council Individual Excellence Award, the Kimmel Foundation Artist Award and the Charles Shaw Painting Award. Her artwork has been featured on Creative Boom, the Jealous Curator, and Young Space, among others. She has curated exhibitions at Cuchifritos Gallery and Spring/Break Art Show, both in New York, and the Neon Heater in Findlay, Ohio. Buschur was the Director of the Eisentrager-Howard Gallery at the University of Nebraska, Lincoln and currently works with The Arts Commission in Toledo, Ohio, where she co-founded Co-Worker Gallery in the corner of her office.
My paintings implant ordinary objects with psychological meanings, implying a human presence through depictions of accumulated collections. These collections, ranging from books to junk drawers to piles of empty boxes, focus on the oscillation between private meaning and public presentation.
Closed (and often blank) books have the potential to contain anything- primers, secrets, romances, how-to guides, theories, handbooks for improvement. They remain closed: an impenetrable façade, or conversely, a blank slate open to any interpretation. When text is present, it is both invented and extracted from the original text on the books. These small groups of words function as short poems, offering hints at the content of the books and steering the painting towards additional meanings. Mirrors are present in some paintings, though the doubled images are never true duplicates. The text changes, perspectives and colors shift, and the divide between real and reflected widens. The paintings pivot between personal resonance and public consumption, reality and invention, fixed meaning and open interpretation.
Painting the array of collected objects in a drawer is an act of meditation on my relationship with the owner, as I dwell on the mundane details of their accumulated junk. Yet the paintings stop short of functioning as a portrait of an individual through their amassed objects. Instead, the collections point towards the material weight of modern life, the anxiety of consumption, and the anonymity of personal effects. Acting as a counterpoint, a companion set of paintings depicts piles of empty boxes. All drawers are eventually emptied; the collector is no longer collecting.