Jordan Rosenow is a visual and performance artist who focuses on the relationships of objects and bodies through simple gestures such as touching, bending, leaning and standing. Rosenow’s work responds to architecture and the way space influences the body through walls, light, and void. The objects, often in pairs, imply a sense of vulnerability and performative movement as Rosenow examines the overlap between dance and sculpture. Her practice is rooted in sculpture and is deeply linked to performance by implying motion and vulnerabilities of materials.

Amid Structure is a multimedia installation which looks closely at minimal gestures and the subtle intimacy between objects and architecture. Raw building materials, typically used to solidify permanent structures such as 2x4s, pipes, and steel are the foundation for both domestic and industrial spaces that house/shape the body and its experiences. These materials are created and used in mass quantities where uniformity is expected and they remain hidden in the interior of walls.

Rosenow’s deviation from normal use of building materials prompts us to reconsider the everyday structural materials that shape the body and its experiences. Working through a queer, feminist lens Rosenow has found exciting potential in these materials. By revealing raw materials and amplifying subtle deviations in form, Rosenow is using sculptures as performers to investigate the charge of proximity and desire that is felt in the space between.

In a continuation of the Wall Bend series, previously exhibited at the Soap Factory, Rosenow utilizes the malleability of linoleum flooring to wrap around the boards.

The drawing series, titled Process Plans, takes inspiration from construction diagrams but the drawings seem to imply directions to create segments of architecture still in progress. The frames are drawn as though they are intended to remain incomplete. For this exhibition, Rosenow expands the Process Plans series onto Tyvek paper and focuses on creating a collection of plans that suggests an entire architecture including floors, windows, and ceilings.

The exhibition also includes a series of small sculptures performing minimal gestures and subtle intimacies between objects. The steel sculpture, glass between, relates to the felt still work in Chris Larson & Jordan Rosenow: The Space of a Line, on view in Rochester Art Center’s second floor accent gallery.  A previous sculpture of Rosenow’s was destroyed by winds that bent these once 40’ tall steel tubes. She saved the points of collapse and mounted the two bent tubes to a steel plate hidden under the felt mat so they can remain freestanding.

Rosenow creates performances among her works; performers move slowly throughout the gallery changing postures, responding to the artwork and architecture. The subtle choreography explores dance as sculpture by utilizing stillness and activating the body’s postures and limitations.