INTERVIEW: JEN BERVIN
Your art stunningly combines the textual with the visceral, particularly works like The Dickinson Fascicles and The Desert, where you transform written texts by other artists into arresting, hand-sewn objects. How did those projects begin?
With intense attention to landscape, light, page space, mends.
Your work frequently, deliberately and ingeniously appropriates the work of others. Where's the line for you in regards to what's fair use and what's not?
I believe that there should be a reason for it, a necessary conversation present in the work that necessitates both.
You describe The Niagara Book as an "erasure". Can you briefly describe what you mean by this and how you go about making one?
Erasure has come to mean a text written within or from a preexisting text--in my case this is quite visually present. I think about all of these things in terms of palimpsest, drawing, and sculpture, reading, listening to what is and is not present. For non-sequential writers/readers, erasure can be a very fruitful place to co-exist, re-orient, continue.
JEN BERVIN is a poet and visual artist whose work brings together text and textile in a practice that encompasses artist books, poetry, large-scale art works, and archival research. Her books include The Dickinson Composites, The Desert, A Non- Breaking Space, The Red Box, and Nets.