I grew up in Los Angeles and continue to work there as a studio artist, teacher, and illustrator. I exhibit locally and internationally. I’ve been active in the printmaking community since I began practicing print in 2011, during my undergraduate years at Cal State Northridge. I am currently head of the Valley Print Studio, which I founded in 2013. In my own work, I create visual poems about the connection between ideas, bodies, and characters. I do this by emphasizing and reimagining the represented contact point between these things. Whether in print, drawing, or painting, my sensibility as an artist is deeply influenced by the methods and aesthetics of printmaking. For me, composition is a process of drafting, layering, and varying.
I want my paintings to speak for themselves. I look for a certain power and simplicity in my work, images that work at a gut level which also invite a wry, humorous look at life. I like to challenge bland emotions and poke fun at sacred cows.The roots of my work are in expressionism; my influences are from everywhere: a childhood in West Africa, French political posters of May 1968, Topolski’s sketchbooks, Munakata’s woodcuts. I also admire Chinese brush painting with its object of capturing a single Zen moment in a few simple brush strokes.My themes are grounded in everyday life, in my experience of life as a woman. As an artist I like to work within the traditions of art and history, at the same time to play with its icons and stretch its boundaries. My subjects are landscapes and people, animals and flowers, dancers and musicians, a celebration of life.Art for me is not only about life but a way of adding to it, exploring it. I think with my brush. I think about the marks I make. I want to blow fresh air into established ways of looking at life and constantly to redefine myself and my relationship to the traditions of art.
In her studio practice, Jennifer Anderson Printz gravitates towards labor- and time-intensive processes from intricate graphite drawings to making thousands of small delicate cuts in paper with an X-acto knive. The artist’s touch is extremely important to her as it creates an intrinsic presence within her work reflecting a fragility of memory and the phenomena of meaning. Her work has been exhibited in solo and group exhibitions across the United States and abroad and has been included in publications as diverse as Tricycle and The Carolina Quarterly. Her project have also included massive mural for the Taubman Museum of Art titled Resolute Understanding of Fragile Things.