Safety in Numbers, 1, Jono Vaughn

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Safety in Numbers, 1, 2017

Jono Vaughn

Acrylic Ink on Paper

30" x 22"

Jono Vaughan (b. 1977 London, UK) holds a BFA from the School of Visual Arts in New York City and a MFA from the University of South Florida in Tampa, Florida. From 2009 - 2012 she worked as a Production Assistant at Graphicstudio where she helped create works for Alex Katz, Christian Marclay, Teresita Fernandéz, and others. Her work has been exhibited nationally and internationally in solo and group exhibitions, including the exhibitions MOTHA and Chris E. Vargas Present: Trans Hirstory in 99 Objects at the Henry Art Gallery at the University of Washington and We the People at the Minnesota Museum of American Art. Vaughan was the Betty Bowen Award recipricantt for 2017 and her exhibition Jono Vaughan: Project 42 was exhibited at Seattle Art Museum in 2018. She was a 2018 finalist in the Open Media category for the Neddy Award presented by Cornish College of the Arts. An exhibition of her work in 2020 at the Indianapolis Museum of Contemporary Art will feature new works from the Project 42 series. The exhibition will tour to Bainbridge Island Art Museum in 2021. Vaughan is currently an Assistant Professor of Art at Bellevue College in Bellevue, Washington and is a member of the Board of Trustee’s at the Henry Art Gallery at the University of Washington in Seattle. 

These prints were printed as part of my installation and performance "Safety in Numbers" curated by Julia Greenway that took place at Killjoy Collective in conjuncture with the Dsjecta exhibition "A Situation of Meat". Each sheet is unique. With layers of silkscreen printing on top of a hand painted background. In totally 250 sheets of paper were used to cover the walls of Killjoy Collective to provide an immersive environment for the performance. "Safety in Numbers" are a series of performances in which volunteers agree to be turned into clones of me via haircutting and in some variations, make up. As a trans woman, I feel that anonymity is difficult to achieve and that my inability to blend into a crowd reduces my safety when in public. These works focus on working with allies to create a space of safety in which via the physical changes agreed upon by the volunteers I am able to achieve some level of anonymity. The marks in the work echo similar marks used in my paintings and drawings. They function as disrupting noise, a challenge to the binary stripes that I once incorporated into my Safety in Number installations and 2D works.