Jenna Valoe is a self-taught fiber artist whose fascination with connecting people to their environment, themselves and each other informs her artwork. Storytelling and place-making feature prominently in her colorful quilts, embroideries and prints. Dedicated to quilting, embroidering and printing by hand, her work not only elicits a human presence but contributes to the preservation of hand work in contemporary art. 2021 finds her exploring the healing potential of art through the use of color, shapes and the incorporation of secular prayer.
Education
2006 BA in Cultural Anthropology from UW-Milwaukee
Exhibitions
2020 Group Show; 2020 Museum of Wisconsin Artists Biennial, MOWA, West Bend WI
2019 Two Person Collaboration; A Time of Expectant Hopes, Scout Gallery, Milwaukee WI
2019 Group Show; On the Wing, Portrait Society Gallery, Milwaukee WI
2018 Group Show; Forward 2018 A Survey of Wisconsin Art Now, Charles Allis Museum, Milwaukee WI
2018 Two Person Collaboration; A Time of Expectant Hopes, Caerstecker Gallery, Ripon WI
2018 Group Show; Is There a Woman in the House, Bayview Gallery Night, Milwaukee WI
2018 Group Show; Split Fountain CRUSH, Spring 2018, Split Fountain Press, Milwaukee WI
2017 Group Show; Warmer, Grove Gallery, Milwaukee WI
2016 Group Show; Waysides, Kohler Arts Center, Sheboygan WI
2014 Group Showing; Uncommon Folk, Milwaukee Art Museum, Milwaukee WI (Three quilts shown in conjunction with the exhibit.)
2006 BA in Cultural Anthropology from UW-Milwaukee
Exhibitions
2020 Group Show; 2020 Museum of Wisconsin Artists Biennial, MOWA, West Bend WI
2019 Two Person Collaboration; A Time of Expectant Hopes, Scout Gallery, Milwaukee WI
2019 Group Show; On the Wing, Portrait Society Gallery, Milwaukee WI
2018 Group Show; Forward 2018 A Survey of Wisconsin Art Now, Charles Allis Museum, Milwaukee WI
2018 Two Person Collaboration; A Time of Expectant Hopes, Caerstecker Gallery, Ripon WI
2018 Group Show; Is There a Woman in the House, Bayview Gallery Night, Milwaukee WI
2018 Group Show; Split Fountain CRUSH, Spring 2018, Split Fountain Press, Milwaukee WI
2017 Group Show; Warmer, Grove Gallery, Milwaukee WI
2016 Group Show; Waysides, Kohler Arts Center, Sheboygan WI
2014 Group Showing; Uncommon Folk, Milwaukee Art Museum, Milwaukee WI (Three quilts shown in conjunction with the exhibit.)
Acknowledgements, Gratitudes & Intentions
I live on the homeland of Potawatomi, Ho-Chunk and Menominee people. I recognize their violent removal from this land, the horrific effects of colonialism on their cultures and well-being, and my complacency to the systematic racism that supports these injustices as a white woman. I also recognize their continued and outstanding contributions to our community in place-making and environmental protection and rededicate my support to their prosperity.
It is with the utmost sincerity that I say, I would be nothing without Black, Indigenous & People of Color teachers, artists, cultures and mythos. I owe endless gratitude to John Boatman, Keewaydinoquay, Jean-Michel Basquiat and the Pettway Women of Gees Bend for fanning a tiny flame inside me and unveiling ever expanding views of the world. Thank you, thank you, thank you.
It is my hope that my art is seen as a conversational response to the artists that inspire me and not an appropriation of their work and culture, and it is my intention to move forward mindful of the line between those spaces. I am committed to antiracism in my art and life through re-education, conversations with family, friends, coworkers and elected officials, and supporting BIPOC livelihoods with space, time and money.
May these acknowledgments, gratitudes, and intentions be ever evolving as I grow and learn.
I live on the homeland of Potawatomi, Ho-Chunk and Menominee people. I recognize their violent removal from this land, the horrific effects of colonialism on their cultures and well-being, and my complacency to the systematic racism that supports these injustices as a white woman. I also recognize their continued and outstanding contributions to our community in place-making and environmental protection and rededicate my support to their prosperity.
It is with the utmost sincerity that I say, I would be nothing without Black, Indigenous & People of Color teachers, artists, cultures and mythos. I owe endless gratitude to John Boatman, Keewaydinoquay, Jean-Michel Basquiat and the Pettway Women of Gees Bend for fanning a tiny flame inside me and unveiling ever expanding views of the world. Thank you, thank you, thank you.
It is my hope that my art is seen as a conversational response to the artists that inspire me and not an appropriation of their work and culture, and it is my intention to move forward mindful of the line between those spaces. I am committed to antiracism in my art and life through re-education, conversations with family, friends, coworkers and elected officials, and supporting BIPOC livelihoods with space, time and money.
May these acknowledgments, gratitudes, and intentions be ever evolving as I grow and learn.