Jenna Knoblach lives and works in New Orleans but was born in Slidell near Honey Island Swamp. The combination of running cross country and track at the collegiate level and studying feminist body art led to an interdisciplinary practice rooted in performance. Byproducts of a physical action may become sculpture, photography, video, or text. In some instances, the audience is invited to interact directly with the work, such as the installation Dial Zero. Solo exhibitions include Magenta Alert at Staple Goods (2017) and Welcome to the #socialartwork at Good Children Gallery (2014). Knoblach has also had artwork exhibited at Contemporary Arts Center New Orleans, the Ogden Museum, the Louisiana State Museum, the New York Transit Museum, the Museum of Modern Art in NY, Makeshift Museum in L.A., Museo de la Ciudad de México, LABOR Gallery in MX, UNO St. Claude Gallery, Barrister's Gallery, The Front Gallery, Antenna Gallery, and Fossil Free Fest. Knoblach has publications in 101 Contemporary Artists, New Orleans Art Review, Artvoices Magazine, and their artwork is in the special collections of Koç University, the Collins C. Diboll Library, as well as in private collections.
I am committed to documenting traces of the body’s movements. I am committed to making immersive installations in which the viewer has a bodily interaction. I am committed to communicating a narrative using time-based or new media.
Matters pressing to my background, my struggles, and my dreams find their way into my artwork. If these vibrate in a universal, sociological, or emotional frequency, I am satisfied. In my images, I return to these tensions: constraints and mobility, figuration and abstraction, visual symbols and textual symbols.
I feel comfortable outside the studio on a physical site, and I thrive on conquering skills in new mediums that require layered processes. My projects often invite my small community to participate in a kinaesthetic activity alongside me. Like the Dadaists who reveled in chance and interactivity, I have created projects in the past which have relied on community to help mold the final product. In the final presentation, mystery, abstraction, or unsettling the viewer to think critically are more relevant than having a pleasing image.