Jennifer Kelly Hoskins (b. 1993) is a visual artist and arts educator currently based in Columbia, South Carolina. Hoskins’ paintings and drawings have been shown in both the United States and internationally. While living and working abroad in Florence Italy, she studied painting and drawing at Florence University of the Arts and worked as a curator for numerous exhibitions. Her contributions to curatorial projects have introduced her to artists from throughout the world.
While in Florence, Hoskins’ work, Volterra , was both published and shown in the group exhibition “Instudio” at the venue Ganzo. Upon her return to the United States, Hoskins earned her B.A. in Art Studio from the University of South Carolina. Her work has since been shown in conventional galleries, such as McMaster Gallery; as well unconventional locations, such as the Columbia Metropolitan Airport. She currently teaches design and drawing courses in Chapin, South Carolina.
Growing up as an introspective child, who observed social situations more than starred in them, I was, and remain, deeply curious about people’s internal relationship with themselves and how that impacts their connections with others. My work examines these relationships by looking into people’s pasts through symbols. The objects being held symbolize nostalgia for the person holding it. Through layering, building textures, scraping, scratching, and blending the drawings were developed in detail to replicate the vividness of memory that invisibly ties us to our former selves. I believe our former selves are carried within us, continually influencing our current realities. When certain parts of the past go unresolved, they remain as potential blocks in making connections with others, which is problematic.
Brené Brown explained the importance of connection saying, “We are hardwired to connect with others, it’s what gives purpose and meaning to our lives, and without it there is suffering” (8).
My goal is to give others a platform to share, connect with others, and achieve peace with the past. The vulnerability shown by those represented in the work allows for strong and meaningful connections to be made between viewers and the figures.
Brené Brown. Daring Greatly. Gotham Books, 2012. (287 pages)