Marshmallow Test, Artwork
Jennifer Uman is a self taught painter and illustrator. She is intrigued by modest circumstances in which people expose themselves in awkward and common ways. She was born and raised in Southern California and has been living in New York for the past 16 years. Her art hangs in the home of Wes Anderson and owned by collectors around the world.
I created Marshmallow Test for the exhibition. It is a collection of 9 paintings that together support my interpretation of literal forms of delayed gratification. I liked its base resting on human actions that access gratification. I want to convey that "later than sooner" is as effective as the other way around.
What is your charity or cause? Why did you select this? Where does community work fit in with your ethos as an artist?
Kiva promotes dignity and independence through microfinance. It's an online community where charitable organizations come together in raising money for women around the world. In poor rural areas a woman's status is determined in her home and community. Her worth is elevated when she is responsible for managing money. By generating money women gain control of their own finances further empowering their lives. Helping anyone to provide for themselves and the people they love by bringing about esteem and financial stability through their cultural strengths is a lot to be admired.
I was welcomed into a community of artists as a novice. Being a part of a group of people to work with creatively gives me the chance to give back through teaching, art therapy, or donating art to organizations I support.
Delayed Gratification reveals the power of patience, of the change that takes place when reward is not the goal but a byproduct of success. Please talk about your ideas of Delayed Gratification. What do these words mean to you?
Knowing that we can't fuck with inertia and being patient with time would have to be my best interpretation. I'm still working out how to do both consistently.
Edition One Hundred is founded with the idea of providing artists the opportunity to transform new technology into a tool to both produce affordable art while simultaneously connecting to non-traditional art collectors. What are your thoughts on Edition One Hundred?
EOH is destined to have astounding affects on an unlimited market. It opens doors for people who collect art and people who don't but have an amazing place to start. Genius idea with purpose.
How do you see this as a platform to reach a broader audience for your work?
What are your thoughts on Art in the Digital Age?
I don’t know enough about the Digital Age to have a very strong opinion but I am catching up slowly. New digital mediums open doors creatively for tons of people who may otherwise have never considered creating anything.
As an artist, regularly producing work is a manifestation of your distinctive view. Also it has a lot to do with influence by the work of others. Do you collect art? If so, who do you collect? And if you had all the money in the world, who would you buy and why?
I’m fortunate to have been able to trade art for art. I have works from Olimpia Zagnoli, Valerio Vidali, Bethany Francher, and Ben Clark. I have a poster from a Chris Johnansen show in NYC. I couldn’t afford to buy any of his art so I hung the poster on my wall with tape and its still there nine years later.
I'm a little obsessed with modern Middle Eastern artists. Having boundaries on what and what cannot be shown in Middle Eastern countries makes the effect of this art insanely simple and layered. Taraneh Hemami and Morteza Zahedi are on my wish list. I would love to own one sketch by Peter Falk (“Colombo”) because his pencil sketches are super true. In Fantasyland I'd own: Edouard Manet"s "La Femme au Perroquet" because the five senses are secrets inside the image. I'd take a few works by Jockum Nordstrom and my collection's masterpiece would "The Blue Tiger" by Horace Pippin because to me it is the perfect painting.
Why should people buy art?