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Calgary Herald Editorial
At the centre of Jennifer Peters’ exhibition on the fourth floor of the cSpace King Edward is a sculpture of a woman. It’s been rendered mostly black, made of mixed materials but with a mannequin at its base. Until recently, it was called The Second Kiss. But earlier this week, Peters’ changed the name to The Last Kiss.
Like its creator, this assemblage seems to have lived several lives. But the Calgary artist thinks The Last Kiss is now in its final form. The female sculpture has the skull of a horse on her shoulder. A leg juts out her back. Her face is now a mask, painted black and featuring an enigmatic smile. There are tools of assembly and disassembly, such as nails and a hammer, taped to her leg. A plaster cast of the artist’s own torso hangs loosely on the figure.
Calgary Journal
Jennifer Peters is no stranger to suffering, and when it comes to embodying one of its many forms, she is a master. Having been diagnosed with mononucleosis, getting lost in the mountains of BC at 16 and more, Peters’ life has fuelled creative bouts with experiences that she channels masterfully into her work.
A mixed media artist who has hosted her work in Motion before (in the December exhibit), Peters’ work expressively visualizes her life, as well as the experiences of women in oppressive relationships (who she is a strong advocate of due to her own experiences), and gives it a form that makes use of a large variety of unlikely ingredients and components.
