Jessica Rayner

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Conversion Video Still
Rate of Decay, 2013 30 Second Time Lapse Archival Digital Print
365 Faces of the Sun, 2013 Video Projected Into Concave Frame 100 X 100cm
Moths attractions to the flame, 2013 Archival Digital Print
The Eternal Half Life, 2013 Lenticular Print, Uranium Rocks
The Handmaidens of Uranus Lenticular Print, Uranium Rocks 2013
carboniferous, 2013 Litho Print 35x45 Cm
carboniferous, 2013 Litho Print
light no light, 2013 Photogram 21x30
The Musement of Electricty, 2014 Digital Archival Print © Jessica Rayner
Round Manual Exhibition, 2013
Visible wave, 2013 Uv Light, Uv Paint 60cm
Order of Waves, 2013 Book, Chipboard Steel Plinth N/A
ellipse (round manual publication), 2013 Digital Drawing 30x42
Buried Sunshine, 2013 Coal, Perspex Box N/A
RCA show room 1
Sun Clipse installation, 2012 Concrete, Coal, Plinh 100 X100 Cm
Sun Clipse (installations), 2012 Black Light Bulb N/A
RCA show room 2
Civil Night, 2012 Litho Print, Engraved Aluminium Frame 28x 28 Cm
Luminous Flux, 2012 Archival Print 100 X60 Cm Each
Prohibitation of Death in Response to Environmental Conditions, 2012 Archival Print Variable
Prohibitation of Death (text), 2012 Risograph Prints 28 X18 Cm
State of Change installation, 2012 Digital Archival Print, Projection, Tv Monitor N/A
State of Change Part 1, 2012 Digital Archival Print 60 X 45 Cm
State of Change Part 2, 2012 Digital Archival Print 60x 45 Cm
The Mountaineer, 2011 Work In Progress Show Rca
Manmade , 2011 Photocopies 200 X 120cm
Manmade corner , 2011 Photocopies 400cm X220cm
Proof is in the dust, 2015 Archival Digital Prints 62 X 47 Cm © Jessica Rayner, Christine Park Gallery
An Awareness of the Dark (Series of 4), 2016 Uv Inkjet Onto Polished Aluminium 65 X 46 © Image © Jessica Rayner
Quick Facts
United kingdom
Birth year
Lives in
Works in
Royal College of Art, 2012, MA
University of Brighton, 2007, BA
sculpture, mixed-media, installation, video-art, conceptual, landscape, photography

My current artistic practice usually begins as a journey of exploration, almost in the classical sense. Journeys have included visits to slate quarries in Wales (to examine the link between the quarries and past working communities), to Iceland to research volcanic topology (for my Royal College MA thesis ‘The Entropic Landscape’) to Spitsbergen, Arctic Circle, to develop artwork derived from an experience of sharp seasonal divisions, such as between light and dark or intense cold and fleeting warmth. And most recently to Greenland to record the sound of carving Ice. The landscapes that I am most interested are those which incorporate visual and aural effects of change and transformation, whether it is expressed through the dramatic or dull, loud or silent.  In all my work I want to ask the audience to look beyond habitation in moments of time to prompt questions about larger expanses of time (geological time, seasonal time, human life-time, etc.) and about our relationship with nature, given that our sense of nature is a product of an urban, over-socialised existence.

In recent explorations I have drawn together past and present experience (scientific, artistic, communal) of geological phenomena, examining links to the historical and the everyday in order to map how science, features of the local ecology and human experience of place interrelate. Such concatenations of viewpoint, I have found, appear almost as palimpsests, being established in the form of layered histories if inevitably fading pasts. If this search for a vision of place leads me to cross-disciplinary boundaries, I have found that an interdisciplinary approach also guides my artistic practice too.  In my attempt to engage with natural events – some of which stretch across geological time, others which might be visually rapid - I deconstruct and reconfigure form and content through multiple media, including photography, video, collage and three dimensional sculptural works. There are recurring elements of my work, which take different forms, reappearing and re-establishing themselves in different contexts. For in attempting to contextualise found objects from different locations I give attention to the microcosmic, the overlooked or the concealed, the incidentals of existence which give texture, uniqueness and complexity to place.

Though ideas and imagery within my practice explore characteristics of place the production of my work is studio based. Often playing with sourced objects and materials, I am motivated by certain ideas about these substances and the knowledge that exists around them. By delving into their history I became interested in the discovery, telling and retelling of the stories that surround them. I am not necessarily looking for answers or resolutions; the significance also lies within the process and perhaps there are no outcomes.


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