ArtistÂ´s Statement Shifter Series
"But the system of experience is not arrayed before me as if I were God, it is lived by me from a certain point of view: I am not the spectator, I am involved, and it is my involvement in a point of view which makes possible both the finiteness of my perception and its opening out upon the complete world as a horizon of every perception." Merleau Ponty
"The physical materiality of Jane E. McLooneâ€™s paintings are glittering transient objects. The surfaces/bodies are always shifting within the moment, shifting within themselves, always shifting with/in whom ever is experiencing them." Index Magazine
The most representative of my works are a series of paintings entitled shifters, which address issues of Utopia, longing, real and imagined spaces, nostalgia, and the construction of subjectivity through language, and the commodity.
The title â€śShifterâ€ť is a reference to Roman Jacobsonâ€™s category for linguistic signs; words which take on a different meaning in relation to their context and address. The position of the spectator is incorporated into the "meaning" of each painting which brings the artist/art/spectator into a dialogue where all exchange subject and object of address.
This re-examines the phenomenology of painting itself. Jacobson states "that the shifter is filled with signification" only because it is emptied out, for example the word "this" is such a sign, waiting each time it is invoked for is referent to be supplied. We point to something laying on the desk and say "not that, " this."
The personal pronouns "I" and "you" are also shifters. In conversation, as we speak to one another, both of us using I and you; the referents of these words keep changing places across the space of our conversation. I am the referent of "I" only when I am the one who is speaking. When it is your turn it belongs to "you".
Most importantly the shifters devise strategies for seeing and re-reading the role of "object hood- ness" in painting, subverting the role of women as artist to a more pronounced feminist position.
In essence, as the shifter is indexical in nature it points to the structuring absence in/of the feminine in painting. Theoretically, in choosing to re-examine Pop Art and Minimalism through feminist ideology, I attempt to retrieve the radical potential still remaining in Pop and Minimalism.
My paintings both consume and repel simultaneously. They seem to represent the absolute depth of stars in the infinite space and at the same time call only to the surface of a countertop in a Woolworth diner of the 1950Â´s.
Shifters are theoretically complex in content re-examining the phenomenology of object hood and subject hood in painting and its relationship with the viewer.
By referencing and appropriating the male dominated position in Minimalism as well as returning to the site of Pop ideology rather than Pop imagery it opens the possibility of a post feminist re-reading of consumerism and commodity culture.
By understanding the shifter as seminal art one challenges the cultural codes historically used to make and view art in the modernist and post modern eras.