Jordan Eagles spatter paintings

JORDAN EAGLES

For over a decade, Jordan Eagles has been using and preserving blood in his multi-dimensional works as a method to explore themes of regeneration and the metaphysical connections between body, spirit and nature. Eagles permanently preserves the blood on clear and white Plexiglas within layers of resin, suspending the organic medium’s fluid forms under the resin’s glass-like surface. His work is a dynamic wash of burgundy, crimson, ruby’s - commingling with near blacks, and rust colors forming a rich vibrant surface that glows with energy. Now mixing his medium with copper, Jordan creates an effect that is not unlike erupting molten lava – a sparkling geology of vibrant colors and seemingly prehistoric textures that range from fiery orange to deep crimson –
revealing as much about life as about death.

Explosive energy, inner light, organic patterns and bodily orbs: my latest series continues to explore the physical and intangible connections between the body-spirit and the universe. These new works are built on pure white Plexiglas and marked with minimal organic forms. The curves and flows, created with blood, allow the sleek and smooth synthetic elements to exist in harmony with the organic – illuminating the finite details of the blood as well as its infinite cosmic energy.

In the presence of light, the translucency of the blood is revealed under and between multiple layers of clear resins. (An additional UV coating is applied to each piece to ensure the archival life of the organic material). The multi-dimensionality of each piece retains and vibrates the light, illuminating pools of reds/blacks and proteins with sealed-in air bubbles; simultaneously one could be viewing microscopic, cellular details as well as large scale photographic images of planets.

In some instances the graphic spills, splats and organic patterns conjure the flow of creatures in flight or aerial views of crop circles or the inner rings of trees. The blood mixed with copper, creates an effect that is not unlike erupting molten lava – a sparkling geology of vibrant colors and seemingly prehistoric textures that range from fiery orange to deep crimson.

I have been using blood in my work for almost a decade. Although my techniques and aesthetic are continuously evolving, the underlying themes remain constant and continue to inspire me in fresh directions. In this new series, I allow the forms and materiality to stand at the forefront, presenting an unbiased reflection of mortality, spirituality and infinity, while still offering the viewer space for a visceral and primal response. Some say they see in the work the astral origins of life while others see gunshots wounds. Regardless, the use of a flesh-based material to explore something as seemingly intangible as the spirit imparts a profound balance. Blood, most often symbolizing physical death, is in fact a life force. By using and preserving blood from an expired source in a new, regenerative context, my works celebrate the rebirth process that I believe the body-spirit undergoes once life, as we know it, has ceased. The resulting works become moments frozen in time, suggesting that our body-spirits exist in a multitude of physical and spiritual forms – continuums that transcend our individual lives only to be reborn as something different, something new, something that is part of who we already were. —Jordan Eagles

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