Jordan’s art practice and life are intertwined. Her studio space includes the abused and forgotten patches of land sandwiched between roads and urban streams. A magical realm of tangled forest writhes along the edges of these streams. Ideas germinate during her wanderings in these zones as she practices looking for nothing and everything at the same time. Her natural sense of time and place is restored by absorbing all the patterns of seasonal changes, animal activities, growth, and decay.
These urban waterways carry the flood of storm water from the surfaces of our human-built landscape out to the Chesapeake Bay and the ocean beyond. The water gathers whatever it encounters in the roads and gullies. This flotsam and jetsam whispers clues to life. Found objects and foraged organic materials later combine in the studio as spiritual translators for Earth’s pleas and wisdom. Jordan’s sculptures are a language spoken by the terrain we zoom past every day, busy ignoring our breathing earthling brethren. These adorned bone-like figures are both memorial and messenger, epitaph and prophecy, funeral dirge and call-to-arms.
These forests have witnessed and been victims of our human folly for hundreds of years now. Some trees seem to gesticulate as spokespeople, warning of the looming climate cataclysm. The large works combine these patient arboreal expressions with phrases from female environmentalists, poets, and social justice activists. These brave women were often themselves victims of injustice and their work was often ignored. Degradation of women and abuse of the Earth historically go hand in hand. Each sculpture was designed with some of these writings in mind.