projects

jojin van winkle

LSTN MOR
highlights

highlights

documentary

documentary

The Land Beneath Our Feet (2016) 60 min.

www.thelandbeneathourfeet.com

director/producer/cinematographer/writer/editor, Sarita Siegel and director/producer/writer, Gregg Mitman

additional cinematography by Jojin Van Winkle (and several others)

still from footage by Jojin Van Winkle

 

tlbof_still_van_winkle

 

In the Shadow of Ebola (2015) 27 min.

on PBS’s Independent Lens since June 2015

http://www.pbs.org/independentlens/films/in-the-shadow-of-ebola/

director/producer Gregg Mitman and producer/editor Sarita Siegel

cinematographers, Alexander Wiaplah, Jojin Van Winkle & Sarita Siegel

stills from footage by Jojin Van Winkle

 

 

Documentary Footage (2013-14)

various shorts 

 

further-on

experimental

B-roll (2016) 12 min.

shot on 16mm and Super 16mm

digital, single-channel

Poster_MFA_Exhibition_Van_Winkle_2016_04_22_postcard_7

 

(2016/ screen shots)

 

 

 

(2016/ installation views)

 

further on (2015), 5 min.  

9-channel video installation

(2013-2015/ screen shots)

 

(2015/ installation views)

 

 

 

daily b-roll (2015), 7 min.

8 monitors and 1 projector

 

 

narrative

narrative

Friendly Crossroads (2015), 28 min.

art director/production design

 

 

Fall-out, scene (2014), 90 sec.

art director/production design/wardrobe/props and lighting designer/gaffer

 

photography-on-the-land

photography

underwater photography

&

photography (on the land)

jojin_scubagear_gbr

underwater

underwater

photography-land-and-air

land and air

 

multimedia

multimedia

votn_collage

Voices of the Namekagon

a nature biography of the Namekagon River and its watershed area

a collaborative project with aquatic ecologist, Alison Mikulyuk

launching in 2017

 

 

 

Stair Trek: Core to Cosmos

a collaborative, permanent project with Madison Children’s Museum and over 700 children

2016-2017  

The installation is located in the Museum’s Stairwell #3, ranging 7 floors from the basement to the rooftop.

Stair Trek: Core to Cosmos includes animations and soundscapes created by Jojin Van Winkle.

Over 700 children participated in the project by contributing their drawings and voices.

The animations are compiled from children’s drawings.

The soundscapes include children’s opinions, memories, thoughts and imaginations of caves, forests, animals, weather, and outer space.

The animal sounds are also created by the children.

news

news

photo take by Stacey Evans

Jojin Van Winkle’s screenplay, Tanked (32 pages, 2016) was selected as a finalist in the short screenplays competition for the 2017 ReelheART International Film and Screenplay Festival.  

Tanked was in the top five screenplays.

ReelHeART 2017 – Short Screenplay – Official Selections Announced

 Tanked (32 pages, 2016) was also an official selection for the 2017 Lady’s First International Film Festival (Cork, Ireland), in the screenplay competition.

The Land Beneath Our Feet premiered in Liberia on May 18th, 2017 at the 2017 European Film Festival in Monrovia, organized by the Delegation of the European Union to Liberia.

 Recently this documentary screened at the Smithsonian’s National Museum of Natural History.

On February 1, 2017, Stair Trek: Core to Cosmos opened at the Madison Children’s Museum. This includes animations and soundscapes created by Jojin Van Winkle. Over 700 children participated in the project by contributing their drawings and voices. The animations are compiled from children’s drawings. The soundscapes include children’s opinions, memories, thoughts and imaginations of caves, forests, animals, weather, and outer space. The animal sounds are also created by the children.

The Land Beneath Our Feet has been selected to tour in the 2017 Black Maria Film Festival, and won the festival’s Global Insights Award.

The Land Beneath Our Feet continues to be awarded official selections for 2017 festivals, including: DOK.fest München (Munich, Germany), RAI Film Festival (Bristol, UK), Addis International Film Festival (Addis Ababa, Ethiopia), Ekotopfilm-Environfilm (Bratislava and Banska Bystrica, Slovakia), Ethnografilm (Paris, France), West African Film Festival (Houston, TX, USA), Denton Black Film Festival (Denton, TX, USA), Beloit International Film Festival (Beloit, WI, USA) and several others.  The film is also screening at academic institutions and professional conferences internationally. 

 On November 11th, 2016 The Land Beneath Our Feet premiered at the Leeds International Film Festival

contact

contact

amanda_piela_jojinvw

Jojin Van Winkle, photo by Amanda Piela, 2015

jojin@jojinprojects.com

608.354.4112

about-two

about

gazing out the studio window, self-portrait, 2010 © Van Winkle

artist statement

 

short bio

 

cv

 

artist photos

statement-artist

artist statement

from the mind to the pen into virtual print © Van Winkle

 

The world is full of stories. Some stories are told in words or writing; and some stories are images seen in everyday life and other images come from the imagination and dreams. My film/video research and practice centers around the theme of listening.

Cinematography is at the core of my work. Landscapes and architecture inspire my stories. My projects are pseudo-documentaries with female characters. In the stories the characters take journeys through various types of landscapes. These journeys are metaphors for discovery. The characters’ actions focus on resilience.

I use 16 mm cameras and HD video cameras to make these stories. Some of the stories are displayed as single channel films (one film at at time). Other stories are experimental and displayed as multichannel videos (many videos playing simultaneously on different monitors or different projectors).

Professionally I have been involved with documentaries based on land rights and human rights in Liberia. These are stories that have global resonance about land ownership. In another documentary-based project I’m collaborating with an aquatic scientist to create a nature biography of a river in Wisconsin. This involves interviewing people who are stewards for the river and its watershed area.

Recently I’ve started scuba diving and doing underwater photography. This is inspiring me to create a screenplay related to the ocean.

My series, new experiences>reused materials includes large-scale, site-responsive, collaborative, public art and installations. Constructed from domestic materials that are en route to be recycled: cardboard, paper, plastics, and textiles, the installations engulf the entire exhibiting space(s) from floor to ceiling.

These projects involve collecting, collaboratively creating and recycling the materials at the exhibitions’ conclusion. Design ideas evolve from discussions with participants. I work with a variety of age groups in separate workshops to build different aspects of each installation. I create components myself. All these pieces are assembled into one labyrinth-like artwork, which can be walked through or played inside. Each project contains overlapping layers of research, material experiments, model building, management, teaching, materials gathering/acquiring, construction, blogs and soundscapes.

All together my films/videos, installation projects and soundscapes are ways for me to make visible my listening.

short-bio

short bio

jojin_bio_3_cropped_blurred

Jojin Van Winkle is a filmmaker, visual artist, writer and educator. She creates pseudo-documentary stories, blurring the lines of fiction. She is currently an associate producer for the documentary, The Land Beneath Our Feet (2016, 60 min.). She has additional camerawork in this film about Liberian land rights. Recently she’s was a cinematographer for In the Shadow of Ebola, (2015, 27 min.) documentary on PBS’s Independent Lens. This film follows a Liberian family displaced through the Ebola crisis. In December 2015, she participated in the Critical Media Practice Workshop at Harvard University with anthropologists, filmmakers and artists.

As a recent Master of Fine Arts (MFA) graduate student at the University of Wisconsin-Madison, Van Winkle’s 2016 thesis was shot on 16 mm film and entitled, B-roll (2016, 12 min.) The Absurd and the poetics of loss are addressed in this film. For her Master of Arts (MA) 2015 she constructed a multi-channel video installation, entitled further on. The narrative is set in an imagined dystopian future, focusing on the theme of resilience. In summer 2015 Van Winkle attended a 10-week feature film cinematography and directing program at the Maine Media Workshop. Her Bachelor of Fine Arts (BFA) is from the School of the Art Institute of Chicago

For two years, Van Winkle has been collaborating with aquatic ecologist, Alison Mikulyuk, to develop an art-science project, which is based on Wisconsin’s Namakagon River which is part of the National Park Service St. Croix Scenic Riverway. The project, Voices of the Namekagon, will culminate in a virtual field guide, launching this year. In summer 2016, Van Winkle participated in a panel discussion at an international conference in Melbourne, Australia about this art-science collaboration. She also made a short film, The Dream (2016, 5 min.) with youth in the SIFFY program by the Skopelos Foundation for the Arts in Skopelos, Greece. Recently Van Winkle was an artist-in-resident at the Madison Children’s Museum, collaborating with Museum staff and over 700 local children on a multi-media installation, Stair Trek: Core to Cosmos. The installation is located in the Museum’s seven-storey stairwell, from the basement to the rooftop with a soundscape, animations, lighting and wall paintings. 

From 2008-2012 Van Winkle choreographed large-scale, site- responsive, collaborative installations with accompanying blogs and soundscapes at colleges, high schools, children’s museums, and art centers in Illinois, Georgia, Pennsylvania, North Carolina, Missouri, Oregon, and Ohio. She has been an adjunct faculty for Virginia Commonwealth University’s Art Foundations (2003-2005) and Piedmont Virginia Community College (2001-2006), the education director for the University of Virginia Art Museum (now The Fralin) (2006-2008) and the founder and director of Summer Arts @ the Museum (2001-2003). Jojin currently resides in Madison, WI.

resume

cv

To download a full CV click on the IMAGE above.

To download a full CV click on the IMAGE above.

(for full CV click here  or on image above )

**Partial Listing

Documentary Film

2016  Associate Producer and Additional Camerawork/ The Land Beneath Our Feet (2016) 60 min.

director/producer/cinematographer/editor/writer, Sarita Siegel and director/producer/writer, Gregg Mitman

www.thelandbeneathourfeet.com

Awards:

Best African Film Award – 2017 San Francisco Black Film Festival/ USA 

Global Insights Award – 2017 Black Maria Film Festival/ USA 

Best Documentary Award – 2017 Hobnobben Film Festival/ USA 

Honorable Mention – 2017 Denton Black Film Festival/ USA 

Screenings**

2017

Smithsonian’s National Museum of Natural History co-presented with the Environmental Film Festival in the Nation’s Capital/ Washington, DC, USA

DOK.fest München/ Munich Germany

Ekotopfilm-EnvirofilmBratislava and Banska Bystrica, Slovakia

Ethnografilm/ Paris, France

RAI Film Festival (Royal Anthropological Institute Film Festival)/ Bristol, United Kingdom

Addis International Film Festival/ Addis Ababa, Ethiopia

San Diego Black Film Festival/ San Diego, CA

Black Maria Film Festival/ USA (touring festival – dates TBA)

Houston Black Film Festival/ Houston, TX

West African Film Festival/ Houston, TX

Denton Black Film Festival/ Denton, TX

2016

Premiere Screening:

Leeds International Film Festival/ Leeds, United Kingdom (November 2016)

2015  Cinematographer for USA footage for international documentary/ In the Shadow of Ebola (2015) 27 min.

director/producer Gregg Mitman and director/producer/editor, Sarita Siegel. Alchemy Films and the Independent Television Service (ITVS) with funding provided by the Corporation for Public Broadcasting http://www.pbs.org/independentlens/in-the-shadow-of-ebola/

Screenings**

 2016

Ethnografilm/ Paris, France

African World Documentary Film Festival (touring festival in Ghana, Nigeria, Barbados, Trinidad and Tobago)

2015

PBS’s Independent Lens/ aired and available online since June 2015

Wisconsin Film Festival/ Madison, WI)

Sheffield Doc/Fest Videotheuqe/ Sheffield, UK

COMMFEST (Global) Community Film Festival/ Toronto, Canada

APHA Global Public Health Film Festival 

Chicago Social Change Film Festival/ Chicago, IL

San Jose International Short Film Festival/ San Jose, CA

Screenwriting (Narrative)

2017  Finalist Award for screenplay, Tanked (32 pages, 2016)/ ReelheART International Film and Screenplay Festival (July 3-9, 2017)/ Toronto/ Canada 

Narrative Film

2014 2nd Assistant Director/ A Robot Walks Into A Bar (12 min., 2014) for ITVS FUTURESTATES, writer and director Alex Rivera/ (filmed in Hollywood) Los Angeles/ CA https://itvs.org/films/robot-walks-into-a-bar

Screenings of A Robot Walks Into a Bar

2014

National American Broadcast via ITVS ‘FutureStates’ series

Morelia Film Festival/ Morelia/ Mexico

First International Robot Performance Festival of Prague/ Prague/ Czech Republic

Academic Adjunct Faculty Positions**

2003-05  Adjunct Faculty, Virginia Commonwealth University/ School of the Arts/ Richmond/ VA

2001-05  Adjunct Faculty, Piedmont Virginia Community College/ Charlottesville/ VA

Education**

2016  Master of Fine Arts (MFA), University of Wisconsin-Madison/ Madison/ WI

2015  Master of Arts (MA), University of Wisconsin-Madison/ Madison/ WI

Graduate Assistantships

2015-16 Research Assistant/ Interdisciplinary Research Grant Project working with Phd. student Alison Mikulyuk on a virtual field guide project, entitled, Voices Along the Namekagon/ University of Wisconsin-Madison/ Madison/ WI

2014-15 Teaching Assistant/ Art Department/ University of Wisconsin-Madison/ Madison/ WI

2013-14 Project Assistant for Professor Meg Mitchell/ Department of Art/ University of Wisconsin-Madison/ Madison/ WI

Academic Awards/ Scholarships**

2016  

Conference Presentation Funds/ Graduate School/ University of Wisconsin-Madison/ partial travel funding to present in a curated panel at the international PSi #22 Conference at University of Melbourne in Australia for July 2016

Professional Development Grant/ Art Department/ University of Wisconsin-Madison/ partial funding for international PSi Conference at University of Melbourne in Australia for July 2016

STS Travel Funds Grant (Science & Technology Studies)/ Robert F. and Jean E. Holtz Center/ University of Wisconsin-Madison/ partial funding for international PSi Conference/ University of Melbourne/ Australia July 2016

2015  

Professional Development Grant/ Art Department/ University of Wisconsin-Madison/ to attend a 10-week cinematography and directing program at Maine Media Workshop

Film/Video Instructor/Visiting Filmmaker

2016 Filmmaking Instructor/ SIFFY 2016 (Skopelos International Film Festival for Youth/ Skopelos/ Greece

 Artist-in-Residence**

2016-2017  Madison Children’s Museum Design to Move program’s Stair Trek: Core to Cosmos/ sound and animation residency & installation/ 9-month residency/ Madison/ WI

2011  Fitton Center for Creative Arts/ a 6 ½-week residency/ Hamilton/ OH

2011  Jordan Schnitzer Museum of Art/ University of Oregon/ a 5-week residency/ Eugene/ OR

2010  Children’s Museum of the Lowcountry/ a 3-month residency/ Charleston/ SC

2010  East Central College/ a 3 ½-week residency/ Union/ MO

2009  Children’s Museum of Pittsburgh/ a 3-month residency/ Pittsburgh/ PA

2008  Hambidge/ a 6-week residency/ Rabun Gap/ GA

Artist-In-Residence Art Education Programs**

2002-2013  Virginia Museum of Fine Arts’ Statewide Artists Workshop Program/ Richmond/ VA

Public Art/ Sculpture Commissions/ Collaborative Community Installations**

2010  TREEscape / Children’s Museum of the Lowcountry/ Charleston/ SC

2010  the eXpedition/ Children’s Museum of Pittsburgh/ Pittsburgh/ PA

2010  PEEK: an outdoor site-specific installation/ Hambidge Center for the Arts & Sciences/ Dillard/ GA

Solo Exhibitions** (For Curated and Group Exhibition see full CV on Website)

2016  B-roll/ film/ MFA Exhibition/ University of Wisconsin-Madison/ 7th Floor Gallery/ Madison/ WI

2015   further on/ multi-channel installation/ MA Exhibition/ University of Wisconsin-Madison/ 7th Floor Gallery/ Madison/ WI

2007  Betwixt & Between: an installation/ 1,800sqft main gallery/ Rawls Museum Arts/ Courtland/ VA

2005  Doubleness: Peripheral Memories/ both galleries/ Piedmont Virginia Community College/ Charlottesville/ VA

2002  Die Sammlung der Veränderung (A Collection of Permutation)/ 1708 Gallery/ Richmond/ VA

Performance 

2016  Feeding Farmers project/performance with farmers of Mai’s Flowers ( from McFarland, WI)/as part of Spatula & Barcode Performances in the Wisconsin Triennial 2016Madison Museum of Contemporary Art (MMOCA)/ Madison/ WI  

2014  LONG AGO IN THE DISTANT FUTURE, performance with Jack Kellogg/as part of Progress Gardens Performance/ Madison Museum of Contemporary Art (MMOCA)/ Madison/ WI

Conference Panels

2016  Uncertain Legacies: Artists and Scientists Collaborate to Consider Long Term Ecological Change/ “Performance Climates” PSi 22nd Conference/ University of Melbourne/ Melbourne/ Australia

2014 Collaborator Talk/ SARAS Workshop / Montevideo/ Uruguay

Public Appearances/ Lectures/ Artist Talks/Visiting Artist**

2017-upcoming  Voices of the Namekagon Project Talk/ Lakes Convention/ The Wisconsin Lakes Partnership/ Stevens Point/ WI

2017  Visiting Artist in Video Class/ Edgewood College/ Madison/ WI

2016  Confluence: more than art and science/ The Discovery Center/ University of Wisconsin-Madison/ Madison/ WI

2015  Artist Talk/ Critical Media Practice Workshop / Harvard University/ Cambridge/ MA 

Individual Grants

2000, 1999 & 1998  Community Arts Assistance Program (CAAP) Grants/ Department of Cultural Affairs/ Chicago/ IL

Academic Grants

2002  Piedmont Virginia Community College Education Foundation Faculty Grant/ Charlottesville/ VA

Affiliations**

2017-present  Individual Member/ University Film & Video Association/ USA

2017-present  Independent Member/ College Art Association (CAA)/ New York City/ NY

2014-2016 Student Member/ College Art Association (CAA)/ New York City/ NY

for full CV click here

media

reviews

art-twozerozerozero-twozeroonetwo

artworks

Installations 2008-2012, © Van Winkle

Installations 2008-2012, © Van Winkle

art garden

public art

installations

project videos

other works

works in progress (blog)

art-garden

art garden

wood, stone, water: an art garden/ playscape for a private client April 2011-July 2012

2,400 sqft outdoor space

Design Phase: co-designers, Jojin Van Winkle, artist and Emily Anderson, landscape designer

Build Phase: lead builder, Jojin Van Winkle with build assistance from Emily Anderson

elements: secret space, mounds, tunnels stone garden, stone canvas for drawing, rainmaker, flowerbed of native plants, trees (new and existing), soapstone patio, river marble


public-art

public art

outdoor

indoor

outdoor

outdoor

hedge shears, tool of choice for “PEEK”

peek

PEEK

an outdoor, site-specific public art installation

@ Hambidge Center for the Arts & Sciences (Northern Georgia)

2009

materials from Hambidge:  bamboo, found branches of popular, maple and sourwood, a few saplings, kudzu, rocks, soil, wooden chair, and latex paint; other materials:  wooden platform, white pipe and jute

various dimensions ( 50 ft L x 15 ft H x 25 ft W)

making of PEEK project blog : www.jojinprojects.com/worksinprogress

 

indoor

indoor

impact driver, tool of choice for “TREEscape”

socket wrench, tool of choice for “the eXpedition”

treescape-two

TREEscape

an indoor, site-specific public art installation (and children’s museum exhibit)

@ Children’s Museum of the Lowcountry (Charleston, SC)

2010

materials: wood, Sonotube, carpet, fabric (reclaimed and hand dyed), felt, paint, adhesives, and polyurthane
various dimensions in a 700 sq ft installation/ exhibit space

residency & project sponsors listed on project blog: www.jojinprojects.com/worksinprogress

the-expedition

the eXpedition

an indoor, site-specific public art installation

@ the Children’s Museum of Pittsburgh (Pittsburgh, PA)

2009

materials: poplar wood, pine, metal hardware, recycled clothing, and reclaimed fabric

20 structures/ various dimensions in 750 sq ft space  (structures ranging from 14 ft H x 4 ft W x 4 ft D down to 2 ft H x 2 ft W x 2 ft D)

making of the eXpedition project blog: www.jojinprojects.com/worksinprogress

installations

installations

collaborative

collaborative

stapler and string, tools of choice for “undercurrents….”

scissors, tool of choice for “the forest of REPAIR-ations….”

clothes pin, tool of choice for “Altered & Unraveled….”

heavy duty riveter, tool of choice for “imPartially Read….”

heavy duty jute, tool of choice for “ref-use/refuge….”

undercurrents

undercurrents

 

a recycled, site-specific, collaborative, art installation

@ Fitton Center for Creative Arts (Hamilton, OH)

2011

materials: mixed media using reclaimed and recycled materials

various dimensions/ 4 spaces: downstairs lobby, upstairs lobby, Bever West Gallery and Bever North Gallery a collaboration with Options Academy-the Arts high school students, Miami University (Hamilton and Oxford) Sculpture 1 students, community groups, local school students and their art teachers, FCCA members, and community members

project collaborators and sponsors listed on the project website:

www.jojinprojects.com/undercurrents

making of undercurrents on the project blog:

www.jojinprojects.com/undercurrentsblog

 

a recycled, site-specific, collaborative, art installation

@ Fitton Center for Creative Arts (Hamilton, OH)

2011

materials: mixed media using reclaimed and recycled materials

various dimensions/ 4spaces: downstairs lobby, upstairs lobby, Bever West Gallery, and Bever North Gallery

a collaboration with Options Academy-the Arts high school students,

Miami University (Hamilton and Oxford) sculpture 1 students,
community groups, local school students and their art teachers,
FCCA members,and community members

project collaborators and sponsors listed on the project website: www.jojinprojects.com/undercurrents

making of undercurrents on the project blog:

www.jojinprojects.com/undercurrentsblog

the-forest-of-repair-ations

the forest of REPAIR-ations

a collaborative, site-specific art installation

@ Jordan Schnitzer Museum of Art, University of Oregon (Eugene, OR)

2011 materials: mixed media using reclaimed and recycled materials various dimensions/ 3 spaces Museum lobby, ramp area and Interactive Discovery Gallery

a collaborations with University of Oregon students local school students and their art teachers and community member

project collaborators and sponsors listed on the project website: www.jojinprojects.com/forest

making of the forest of REPAIR-ations on the project blog: www.jojinprojects.com/forestblog

a collaborative, site-specific art installation

@ East Central College (Union, MO)

materials:  mixed media, including 500+ articles of clothing

various dimensions/ 1200 sq ft gallery

a collaboration with East Central College students
and high school students and their art teachers
from Union High School, Cuba High School and Bourbon High School, three area high schools


making of Altered & Unraveled, plus project collaborators and sponsors listed on the project blog: www.jojinprojects.com/seams

altered-unraveled-the-cascade

Altered & Unraveled (the Cascade)

a collaborative, site-specific art installation

@ East Central College (Union, MO)

2010 materials: mixed media, including 500+ articles of clothing various dimensions/ 1,200 sq ft gallery

a collaboration with East Central College students and high school students and their art teachers from Union High School, Cuba High School and Bourbon High School, three area schools

making of Altered & Unraveled, plus project collaborators and sponsors listed on the project blog: www.jojinprojects.com/seams

soundscape, the Cascade

(soundscape designed and compiled by Nick Brobst with art direction by Jennifer Van Winkle,

sounds gathered by collaborators: Nick Brobst, Amber Muir, Shauna Smith, and Jojin Van Winkle)

 

ref%ctwo%bsevenuse-refuge-as-in-trash-not-denial

ref·use/ refuge (as in trash, not denial)

a collaborative, site-specific art installation

@ Prairie Center of the Arts (Peoria, IL)

2009 materials: thousands of plastic water and soda bottles, jute, water, black thread, and PVC pipe

various dimensions/ space #1: 1,200 sq ft gallery (featured in images and in video) and space #2: 1, 200 sq ft warehouse space (featured in video)

a collaborationa with Manual High School students (54 students) and Richwoods High School’s Art Club (14 students) and their teachers

impartially-read-partially-processed-partly-digested

imPartially Read, Partially Processed, Partly Digested

a collaborative, site-specific art installation

@ Campus Gate Art Gallery at Young Harris College (Young Harris, GA)

2008 materials: recycled cardboard, recycled paper, aluminum rivets, staples, painter’s tape, jute, and screws

various dimensions in a 1,500 sq ft gallery

a collaboration with YHC students (80 students, primarily studio art and art appreciations courses), faculty, staff, and community members and their families

 

works-in-progress-blog

works in progress (blog)


artist-fotos

artist photos (2008-12)

project-videos

collaborative projects’ videos

experience 2008 installations

video-ref-use-refuge-as-in-trash-not-denial-installatin-twozerozeroeight

video for ref·use/ refuge (as in trash, not denial)….installation 2008

video-impartially-read-installation

video for imPartially Read….installation 2008

solo

solo

puddy knife (for spreading ink), tool of choice for “Betwixt & Between”

sidewalk chalk, tool of choice for “Doubleness….”

grinder, tool of choice for “Spielzeug….”

gloves, necessary for “Raum, Bäume und Vögel….”

wire cutters, tool of choice for “Die Sammlung….

betwixt-between

Betwixt & Between

a site-specific installation

@ Rawls Museum Arts (Courtland, VA)

2007 mixed media: wood, sewn newspapers, large-scale monoprints (American Masters printmaking paper, sewn Rives BFK paper, Handschy lithography ink, black thread, painted wooden rod, and jute), sewn BFK, woven and sewn yellow pages, acrylic paint and stain on wood filament, and rope

various dimensions in a 1,800 sq ft gallery (12 H x 60 ft L x 30 ft W)

 

doubleness-peripheral-memories

Doubleness: Peripheral Memories

a site-specific installation

@ Piedmont Virginia Community College (Charlottesville, VA)

2005 mixed media: hopscotch mats (photographic images on polyester, foam and nylon binding), wood sewn white pages, acrylic paint, waxed linen thread, home-made (invitational) coloring book, and crayons

various dimensions in two architecturally identical galleries (each gallery 10 ft W x 35 ft L)

spielzeug-zeitgeist-toys-spirit-of-our-times

Spielzeug/ Zeitgeist (Toys/ Spirit of Our Times)

a site-specific installation

@ The Arts Center in Orange (Orange, VA)

2004 mixed media: wood, paint, welded steel, woven and sewn yellow pates, Astro-turf, tape, mirrors, thread, chain, cut-up bumper stickers, sting, and graphite drawings on walls various dimensions in a 700 sq ft gallery (35 ft L x 20 ft W)

raum-baume-und-vogel-room-trees-birds

Raum, Baume und Vogel (Room, Trees & Birds)

a site-specific installation

in Cross-Pollination at the IX Building (Charlottesville, VA)

2003 mixed-media: metal, hog-casing, chestnut pods, wire, rope, paper, and wood dimensions variable (30 ft H x 45 ft L x 30 ft W)

die-sammlung-der-veranderung-a-collection-of-permutation

Die Sammlung der Veranderung (A Collection of Permutation)

 a site-specific installation

@ 1708 Gallery (Richmond, VA)

2002 mixed media: steel, hog casing, steel, wire, found objects, magnolia and chestnut pods, charcoal, chalk, conte on canvas, jute, wood, double windows, stainless steel, wheels, dirt, compost, electricity, thread, plastic vines, and pressed leaves and flowers

various dimensions in a 1,075 sq ft space

other-works

other works

utility knife, tool of choice for “Never Enough….”

sewing machine, tool of choice for “Curtains of Commerce”

jigsaw, tool of choice for “Justice for All??”

love-letters-invitational

Never Enough Time (The Love Shack)

 a collaborative project with writer, Laura Parsons

featured in the Love Letters Invitational

@ Second Street Gallery (Charlottesville, VA)

2006 mixed media: wood stud frame covered hand grooved chip board, wood, fabric, maple seed pods, staples, plastic blinds, paint, framed digital photos designed by L. Parson and fictitious posters about Chicago written and designed by L. Parsons

8 ft L x 7 ft W x 8 ft H

 

curtains-of-commerce

Curtains of Commerce

a fiber sculpture

featured in the regional juried exhibition, radius 250

@ Artspace in Plant Zero (Richmond, VA)

2005 (exhibit)/ 2004 (artwork) woven yellow pages, thread and painted wooden rod

29 ft x 11 ft (each section–13 ft W x 11 ft H with 3 ft space between)

Curtains of Commerce received First Prize for 3-D/media category in this regional exhibit from juror, John Ravenal, Curator of Modern & Contemporary Art, Virginia Museum of Fine Arts (Richmond, VA).

justice-for-all

Justice For All??

a site-specific installation (an interactive photo dummy)

in the curated exhibit “ON MESSAGE: Social Political Art of Our Times”

@ Plant Zero (Richmond, VA)

2004 mixed  media: wood, acrylic, jute, Astroturf carpet, tape, polaroids, and push pins various dimensions (@ a 35 ft L x 10 ft W installation area)

performance

performance

as part of Spatula & Barcode curated performances of Feeding Farmers project in Wisconsin Triennial 2016

performance/social practice with farmers of Mai’s Flowers of McFarland, WI

2016-17

Madison Museum of Contemporary Art (MMOCA) (Madison, WI)

as part of Progress Gardens Performance LONG AGO IN THE DISTANT FUTURE, performance with Jack Kellogg

2014

Madison Museum of Contemporary Art (MMOCA) (Madison, WI)

teaching

teaching

teaching philosophy

samples of student work  from classes

in 2001-2005 and 2014-2015

&

SIFFY 2016 (youth film)

 

 

 

teaching-philosophy

teaching statement

Assisting my students in finding meaningful connections with the materials and content of each given course to support their own creative endeavors is my core objective. In visual arts courses the emphasis is on developing visual communication skills. This includes both acquiring solid technical skills and learning to comfortably discuss work through the use of shared visual vocabulary. I work hard to present and discuss examples of artwork in my classes which go beyond traditional canons and include diverse perspectives from artists of all backgrounds and from around the world. In the larger picture students have the opportunity to participate in visual culture by creating work which synthesizes the inter-related components of the creative process: ideas (research and conceptualization), knowledge (techniques and craft skills), practice (choice, discipline and follow-through) and intuition (curiosity, imagination and self-expression).

pedagogical methodologies

The following are the types of pedagogical methods I utilize in my teaching: 1) Learning by listening/ viewing (video screenings, artwork viewing and accompanying lectures), 2) Learning by doing (art-making), 3) Discovery learning (research and research papers), 4) Relating theory/concepts and practice (short reflective writing assignments that examine discover), 5) Learning through discussion and debate (group discussion related to lectures, presentations or art viewings), and 6) Assessment of learning (quizzes, midterm exam and final exam).

my basic undergraduate course design

I design my courses to combine the following: 1) the instruction of techniques and introduction of materials, tools, equipment, and/or software, 2) dialogue with students about the elements of design and theory, and 3) lectures, videos/films and readings which introduce and examine topics, artists and art movements in history and contemporary times. The projects themselves may emphasize the themes explored in class and/or individual expression through content development and the ability to successfully combine new skills and techniques into students’ evolving style. Each semester I like to invite a guest artist and/or expert related to the course’s topics to visit the class. This allows students to learn from others in the field. When possible I like to take local or regional research field trips with my classes. If the timeframe allows, I assign short projects beyond the core assignments which encourage self-education and artistic development via outside research or in-class exercises.

my teaching strategy

In order to promote the personal and artistic growth of my students I strive to do the following: to ask focused questions and to listen. This is important because sometimes a student has the ideas which are just under the surface or even in plain sight and needs a sounding board to further articulate their/zer own ideas. I emphasize developing a shared vocabulary with my students (both visual and verbal) for use in in the classroom and their own work. This shared vocabulary stresses ways of approaching, seeing and interacting with the content, with each other and with the larger audience/world. This shared vocabulary is crucial to fostering a constructive and critical critique process.

I facilitate the exploration of techniques and equipment/materials (if the course is material-based or software-based) in order to guide the students’ abilities in conceptualization and visual story-telling. This is meant to encourage curiosity and risk-taking. I cultivate the practice of learning from one’s failures by stressing that failure can be a step towards finding something that works which can ultimately led one to the unexpected and/or original. Teaching art health and safety methods related to the medium of the course is an additional key element. This extends to helping students evaluate the choices they are making when taking on a project and what health and safety concerns need to be acknowledged as part of the tasks they are undergoing. (This can be for the students themselves and for their subjects.) I highlight the aspect of self-discipline and the importance of making time to create by introducing potential systems of daily or on-going creative practice. This is very important for emerging artists, and can help students to develop skills necessary to succeed beyond the academic environment.

As a mentor and a teacher I try to carefully listen to my students and to model behavior which emphasizes respect for everyone. Diversity in the classroom involves much more than where a person is born, their/zer age, their/zer cultural or ethnic background, their/zer sexual orientation, or their/zer political viewpoints. It involves how an individual thinks, learns, and communicates. I am aware that what may work for some may not work for all, therefore I am open to hearing what engages my students interests and assists with their learning needs. I strive to teach with as many strategies as possible, making written material available to students and also using audio and video materials for auditory and visual learners. The arts has the added component of hands-on learning which incorporates “doing/ making” into the full educational experience. Being willing to show how to do something multiple times is essential in accommodating students with various learning needs.

the climate of my classroom

The classroom space is a place for everyone. I work hard to to promote a comfortable and safe environment for students. It is a place for diverse perspectives to meet, to be heard and inspire each other. Each person comes to the class with questions and also with answers. I think students can learn from each other, which is salient for future collaborative work design and some visual arts, as well as professional careers of all sorts. I foster group interaction, collaboration and exchange of ideas in either formal or informal critiques, both which can occur through discussion and written comments. Assisting students in practicing discernment and critical thinking during making their own work and communicating about their own work (and others’ work) is important to me. Modeling follow-through of ideas, project completion and time management is crucial to the academic setting. These factors can make or break the ability for one to be professional in one’s field. In conclusion, to me, teaching is a journey. It is a creative and unique experience with each classroom of individuals.

examples-of-students-work

examples of students’ work

siffy-twozeroonesix-youth-film

SIFFY 2016/ Youth Film

The Dream (2016) 5 min.

Skopeloes International Film Festival for Youth (SIFFY) 2016

a short film created by youth and Jojin Van Winkle

Skopelos, Greece

 

 

people-program-students-film-the-anniversary-twozerooneseven

PEOPLE Program 2017/ High School Students’ Film

The Anniversary (2017) 5:32 min.

University of Wisconsin-Madison’s PEOPLE Program’s Summer Fine Arts Section for high school students*

a short film created by a PeoPle Production and Jojin Van Winkle

*the PEOPLE Program is a program within the University of Wisconsin-Madison’s Division of Diversity, Equity & Educational Achievement

 

 

Screen_shot_The_Anniversary2

PASSWORD PROTECTED. Contact the artist/filmmaker for the password permission.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

NOTE: PASSWORD PROTECTED SHORT FILM. CONTACT THE ARTIST/FILMMAKER FOR THE PASSWORD PERMISSION.