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Vandana Jain
Brooklyn, NY
Neighborhood: Crown Heights



ARTIST STATEMENT: In 2001, Vandana Jain came across a digital repository of corporate logos, hosted on a Russian site. Coming directly from a practice of assemblage and collage, she saw an opportunity to use these symbols, and to draw on their instant recognizability and branded meanings. For the last decade, she has focused on using this "alphabet," to see what it can say about capitalism, globalization and consumerism. Her work often uses labor-intensive techniques and handiwork such as embroidery, to contrast with the clean aesthetic nature of the brands and mass-production. Through her work, this corporate symbolic language is exploded, and what remains is a re-examination of the structures that define the 21st century.
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  • Dazzle
    2014
    artists tape
    "Dazzle" is a wall-based tape installation executed in the style of WWI naval camouflage. For this installation at Smack Mellon, I continued my exploration of dazzle camouflage applied to

  • Dazzle (detail)
    2014
    artists tape
    "Dazzle" is a wall-based tape installation executed in the style of WWI naval camouflage. For this installation at Smack Mellon, I continued my exploration of dazzle camouflage applied to

  • Dazzle
    2015
    artists tape
    "Dazzle" is a wall-based tape installation executed in the style of WWI naval camouflage. For this installation at Smack Mellon, I continued my exploration of dazzle camouflage applied to

  • Enlightenment
    2012
    cast sugar   60" in diameter
    This work is created from 48 casts taken of the packaging that was used to hold compact fluorescent lightbulbs.

  • Sugar Mandala
    2010
    cast sugar   42" x 42" x 4"
    For this work, I cast sugar into blister packs, using their found forms as molds. In this manner, a new positive is made from these empty spaces used to house consumer items. Here is a partial list of

  • Fortune
    2012
    animation   3:34 min
    'Fortune' is an animation based on data from Fortune Magazine's annual ranking of the highest grossing global corporations. The top 100 companies of the fiscal year ending in March 2011

  • Group of Twenty
    2012
    cotton floss on aida cloth   4.5 x 5 inches
    This series of small cross-stitch embroideries represent various international political and economic groupings. This work depicts the nations that comprise the G20, group of the financial ministers o

  • BRIC(S)
    2012
    cotton floss on aida cloth   1 x 6.5"
    BRIC (Brazil, Russia, India, China) was can acronym coined by an economist to refer to the four largest developing economies that had the potential to overtake the GDP of the developed nations. Thes

  • Next Eleven
    2012
    cotton floss on aida cloth   3 x 3.5"
    This work shows the flags of eleven countries that, according to Goldman Sachs, constitute the fastest growing economies after the BRICs.

  • Aphabet
    2003-2011
    wool on linen   76" x 136"
    This work is a series of 26 hand-embroidered panels where I substitute each letter in the English alphabet with a corporate logo. Larger themes I was thinking about while making this work include: 19

  • F (Fidelity)
    2008
    wool on linen   16 x 16 inches

  • G (Girl Scouts)
    2008
    wool on linen   16 x 16 inches

  • Prayer Flags for Healthcare
    2009
    screenprint on fabric   variable
    For this work, I have collected various healthcare, pharmaceutical, and charity logos, particularly ones that utilized heart, hand, or person imagery, and arranged them into a meta-icon. Using the for

  • Prayer Flags for Healthcare
    2009
    screenprint on fabric   10 x 13" each
    see previous image

  • Prayer Flags for Healthcare
    2009
    screenprint on fabric   10 x 13"
    For this work, I have collected various healthcare, pharmaceutical, and charity logos, particularly ones that utilized heart, hand, or person imagery, and arranged them into a meta-icon. Using the for

  • World Empire Dominion
    2010
    acrylic on existing wallpaper   60 x 84 inches
    Inspired by the notion of corporate personhood, I’ve started creating figurative forms from logos. In this work, I draw together symbols from various industries including real estate, freight tr

  • Deere Crossing
    2007
    wood, sintra, enamel   12.5’ x 17.5’ x 3.5’
    This sculpture, installed at Socrates Sculpture <br>Park in 2007-2008, is a bridge based on the logo of the agricultural company John Deere. By inviting viewers to walk through and interact with

  • GE Highway
    2006
    cardboard, strapping tape, chalk   15' x 15' x 5"
    <br>This closed highway system is composed of eight interconnected GE logos. The project imagines a fictitious highway shaped by corporate sponsorship and advertising, where commuters have to dr

  • John Hancock's America
    2005
    plywood, felt, artificial turf, phosphorescent stars and paint   12” x 10’ x 12’
    <br>This is a fictitious topographical map of the United States of America, where the land elevations are defined by the logo of John Hancock Mutual Insurance Company, which is a direct copy of

  • Merger
    2005
    paint and string   25 x 26 x 14'
    <br>The logos of two companies and their differing sensibilities collide in this graphic visualization of the 1999 Exxon-Mobil oil merger.
 








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