White silhouette of hand in a sphere, on a painted orange background, entitled Orange Hand 2013-2015 Catalog


oil and graphite on panel, 12″x12″x2″, 2013

oil and charcoal on panel, 12″x12″x2″, 2013

Hand Shadow Painting

Line Quality 2011-2012 Catalog

Line Quality

Oil, charcoal and graphite on plasma cut steel, set of 4, 62″x8″x8″ each

Four steel cylinders with surface drawings using a plasma cutter, pencil and brush, stand at human height, requiring the entirety of the body to move along the pipe, as if dancing. The pipes themselves are the 3-dimensional buy tramadol online no prescription steel canvas for the surface drawing in pencil, chalk and oil glazes.

On the KLRU Video about Generous Art, you can watch me work on these pieces.


Jennifer Chenoweth, Heaven and Hell at Austin City Hall 2011-2012 Catalog

Hell and Heaven Together

Oil and charcoal on plasma-cut aluminum, 30″ x 60″ x 60″ each

Looking at process and totality, these two domes consider the concept of opposites as two parts of a whole. The shapes originated from one 4″x4″ calligraphic ink drawing that was made into a repeating atlantic pharmacy hexagon. The shapes were cut from aluminum, and the positive shapes make “Heaven” and the negative shapes make “Hell”. Heaven is axial symmetry. Hell is non-axial symmetry. The artworks go together as a set.

Heaven sculpture installed Hell sculpture installedHell at Santa Fe Community College Hell at Santa Fe Community College

Jennifer Chenoweth, Heaven and Hell at Austin City Hall Shows

Heaven and Hell at Austin City Hall 2012

Jennifer Chenoweth, Heaven and Hell at Austin City Hall

The People’s Gallery at Austin City Hall selected Heaven and Hell to hang in the atrium for 2012. Come see it at the show opening Friday February 24 from 6-9pm. Free and open to the public.

Andiamo wall view of installation 2011-2012 Catalog

Andiamo, wall view

Andiamo, wall view of artworks

Andiamo: This body of work reengages my research of Roman architecture. I study mathematical proportion, path, axis, and patterns in plans and elevations of buildings. I am interested in how these spherical clusters relate to human scale, as diagrammed by Vitruvius. I want to understand how a sacred spaces are created architecturally and sculpturally.

These artworks are abstractions of real buy tramadol c o d architectural buildings from the Roman Empire. They are models for large-scale sculpture. I am interested in the paint and texture as a response to traditional surface decoration of domes in architecture. By constructing these shaped surfaces, I am creating sacred space for my own painting and drawing practice.