JENNIFER PRINTZ is an interdisciplinary artist whose practice explores the unseen structures that shape experience: celestial, emotional, and material. Working fluidly across drawing, photography, and printmaking, she layers images and gestures into poetic compositions that reflect both the patterns of the universe and the intimacy of perception.
Printz received her BFA from East Tennessee State University and completed her MFA at the University of Georgia, where she also studied in Cortona, Italy. Since then, her work has been exhibited widely across the United States and abroad, with recent exhibitions at the Spartanburg Museum of Art, Chroma Gallery, and the International Biennale of Prints in Portugal. Her pieces are held in numerous public and private collections, including the Royal Museum of Fine Arts in Antwerp.
She has completed artist residencies in Belgium, Malta, France, and the United States, and her practice has been featured in publications such as Peripheral ARTeries, Tricycle, and In Her Studio. An active scholar and arts leader, Printz has presented her work and research at national conferences including the College Art Association and SECAC, and contributed the essay “Print University” to the Norton Simon Museum’s landmark publication Proof: The Rise of Printmaking in Southern California.
Printz currently lives and works in Miami, where she serves as Associate Professor of Art and Director of the MFA in Visual Arts program at Florida International University.
More of Printz’s work may be appreciated on her website and Instagram Account.
Artist Statement
My work explores the in-between—the thin spaces that open between the known and the unknown. Influenced by physics and contemplative practices, my practice is an inquiry into time, a quiet embrace of uncertainty, and an embodied search for meaning.
I select materials and processes for their inherent properties and merge them to create poetic tensions. The slow, deliberate trace of drawing contrasts with the immediacy of photography. Sewing, with its tactile insistence, lifts the flatness of a photograph off the gallery wall, inviting air and gravity into the work.
The hand is present throughout, revealed through sustained touch and attention. Each gesture carries the imprint of meditation, the hush of sustained engagement. Drawings emerge from fine lines traced with tiny mechanical pencils. Paintings unfold through the slow process of masking and rubbing pigment into canvas. Small, deliberate stitches bind silk to other forms, linking surfaces and sensibilities.
As I continue to integrate textiles with drawing and painting, my work occupies an elegant yet awkward threshold between two and three dimensions. It exists in a liminal register. Painted lines shimmer and envelop the viewer, forming constellations that gather and dissolve. These lines, straight but imperfect, are interrupted by fragments of sky printed on silk. The sky breaks through the dark—radiant, insistent—spilling down the wall or folding behind the canvas edge.
