Lifting the Drawing off the Page

Driver’s post minimalist works utilise materials imbued with processes and metaphorical references to present works as drawing, installation, sculpture, and film. Fascinated by how paper is able to transverse both the 2D and 3D , ‘Lifting The Drawing off the Page’ body of works develop from geometric drawings on the page that utilise systems, materials and measurements to create transient, 'un-fixed', installations that shift in time and space. 

This interest in sequence and repetition flows throughout her work, in both the utilitarian material and processes she employs. Traditional drawing materials of charcoal, graphite and paper occupy a dominant presence; as line becomes object, dust becomes surface, and space as form. Created in scale relationship to her own body, the wall installations are presented as an experience for the viewer to navigate.

Inspired by the drawings and approach of Sol Le Witt and Legia Clark, Driver’s expanded drawings are ‘unfixed’ and present in phases to create a works that shift over time. The works are an invitation. Contained in crates, lines await with instructions, a template and a phased drawing plan. spikes line up to puncture time, lines rise and fall like the breath, quivering in the breeze, they are not still, they are a conversation.

Jeannie Driver.  (B. London, 1966)
Driver studied Fine Art at the University of Portsmouth, obtaining a 1st Class BA(Hons)in 1996, and a distinction MA by Project in 2000. On graduation Driver focused on public art and socially engaged practice, including artist led projects, Sues Work, and Domestic Geographic and commissions including the highly commended City as Canvas digital drawing project, Stand and Stare, and The Colour Happened On the Inside that was located around the notorious brutalist Tricorn building. Her seminal project, SPIKE IT involved seven office residencies and interventions culminated in an installation of 6ft paper spikes, noticeboards, cctv footage and data presentation drawing narratives between office behaviours, flow and paper waste.  

Over the following ten years Drivers interest developed in the materiality of paper,  in what she describes as her 'White' or 'Hard Graph Series'. Throughout this period waste paper was her primary palette, for both its symbolic meaning, and to draw attention to its materiality as a valued resource. In some instances the history or data on the page reflected the meaning of the work, in others quantity. The whiteness of the page became of interest along with the materials ability to transverse the 2D and become a sculptural form.  In 2017 Driver began obliterating data on the shredded strips from previous installations with charcoal and graphite, returning to the physical line that is the basis of her work today. 

Driver's installations and works have been exhibited nationally in commercial and public galleries. Solo exhibitions include, Degrees of Ambiguity, CourtX, Manifestations of a Cube, Jack House Gallery, When Contents Become Form, Arbyte Gallery., Hackney Wick. Duo exhibitions include Dazzle + Disrupt, Quay Arts, IOW and Ubiquitous Materials, SHP. Selected group shows include Edge to Edge, Cello Factory, Waterloo, Iterations, Art House 1, Bermondsey, FOUND, Woolff Gallery, London, and Preparing the Site, Bank Gallery, Whitechapel. Site Specific installations include Lines of Passage at Salisbury Arts Centre. Artist time and space residencies include ASPEX gallery and Art Studios Oxford.

As a member of the creative community Driver has helped develop artist lead gallery spaces, curation and peer critique groups, volunteered as trustee, delivered public talks and worked as visiting and associate lecturer at several universities.

This website features works from 2016. 
Visit the archive button on the home page for Driver's Hard Graph back catalogue. (2007- 2016)

1999 - 2007 
(Jeannie Kerswell)

On graduating from university Jeannie Driver (Kerswell), a co-parent of two young children focused on working within the public realm. Influenced by the theories and models of engagement of Suzanne Lacy and Mary Jane Jacob, Driver tested different roles of the artist, from collaborator, facilitator, activist, author and documenter. Through this dialogical and collaborative approach Driver undertook commissions and has undertaken many roles including; Lead artist with an innovative participatory arts company, Creative Consultant to Local Authorities, Lead Artist for commissioned public art projects.  Driver also undertook several substantial artist in residence positions including in a new build Healthy Living Centre, winning Creative Communities Awards for artworks and engagement projects around notions of health and change. In her role as Resident Artist at a Pupil Referral unit, she developed innovative projects that resulted in exhibiting pupils work at  the Royal Academy. 

Download Jeannie Driver's CV here