Erin Jennings is an image-maker utilizing both filmmaking and photography, and her work emphasizes and examines representation and the politics of viewing.
Jennings’ work has been exhibited internationally, with a recent feature in The Opera Magazine for Classic and Contemporary Nude Photography. She is currently a faculty member in the university of Memphis Department of Art.
According to the Pew Research Center, the majority of U.S. adults who prefer to watch the news opt for television as their primary news platform. While ratings for 24 hour news networks declined in 2016, the rapid-fire offensive of the media cycle continues to besiege the public psyche habitually without interruption, creating the experience of perpetual assault. The media feed, referred to by Pulitzer Prize winning journalist Chris Hedges as “electronic hallucinations” leaves a mass public swimming in a miasma of socio-political catastrophe that reads as a perpetual existential threat.
The images in this body of work represent a cognitive cacophony produced by a constant barrage of news media that acts as a harbinger of empiric collapse. Images appropriated from a media repertoire varying from school shootings to police violence to climate change are layered to obscure clarity and reveal with anxious detail a subjective reality as presented to distressed viewers. Each image in this body of work encapsulates specific points of crisis and chaos of a floundering democracy into a codified stasis that temporarily stays each contention, allowing it to function as an exorcised breach in the American psyche.