Jere graduated from Georgia State University after completing work on an M.A. degree in philosophy in 2000 and an M.F.A. degree in sculpture in 2002.  He was an adjunct professor from 2001 through 2005, during which time he taught sculpture, woodworking, art theory, and the philosophy of art at the Atlanta College of Art, Brenau University, and Georgia State University.  He taught foundations, sculpture electives and the philosophy of art at St. Paul’s School in Concord, NH for 7 years before moving to Richmond, VA in 2012. He currently teaches sculpture, design and philosophy at Collegiate School.

Education
2002
MFA, Sculpture, Georgia State University, Atlanta, GA

2002
MA, Philosophy, Georgia State University, Atlanta, GA

1993
BS, Finance/Economics, Babson College, Wellesley, MA

Select Solo Exhibitions

2016
Resting on Is Relying On, Page Bond Gallery, Richmond, VA

2013
How Do You Know?, Page Bond Gallery, Richmond, VA

2009
An Ottoman and Two Stools, Saint George’s School, Newport, RI

2004
Seating, Woodruff Arts Center, Atlanta, GA

2002
Art and Inquiry, NoNo Gallery, Atlanta, GA

Select Group Exhibitions

2016
The Relevant Scrap (collaboration with Pam Sutherland, Phillipo Gallery at Randolph-Macon College, Ashland, VA
New Waves, Virginia Museum of Contemporary Art, Virginia Beach, VA

2015
Structurally Speaking, Main Street Arts, Clifton, NY

2015
The Base Line, An Exhibition on Drawing, ARC Gallery, Chicago, IL

2012
Concerning Line, Page Bond Gallery, Richmond, VA
In The Grain, Mill Brook Gallery, Concord, NH

2011
Bowersock Gallery, Princetown, MA

2010
5 Teachers – 5 Students, Kimball Jenkins Estate, Concord, NH

2009
Larger Than Life, Hargate Gallery, Saint Paul’s School, Concord, NH
12th Annual Invitational Outdoor Sculpture Exhibit, Mill Brook Gallery, Concord, NH

2007
Furniture Representation, Anderson-Soule Gallery, Concord, NH

2004
Various Faculties, Atlanta College of Art Gallery, Atlanta, GA
Unsilent, Eyedrum Gallery, Atlanta, GA

2002
In-House, Atlanta College of Art Gallery, Atlanta, GA
Breadth, Eyedrum Gallery, Decatur, GA

Select Bibliography

2015
“Recent Work,” Lunch Ticket, Summer/Fall 2015, Antioch University
“A Beautiful Manhole Cover Tacked to the Bulletin Board on Goodman’s Door,” Journal of Aesthetics and Art Criticism, Winter 2015, Volume 73 No 1

2006
“Flowing Joinery,” Fine Woodworking Magazine, No 18

2002
Appeared in reviews for Breadth at the Eyedrum Gallery in Sculpture Magazine (Jan/Feb 2003, Volume 22 No 1) and Creative Loafing (Feb-March)

Awards & Honors
2012
ASID/IIDA Interior Design Excellence Award, 1st Place for Custom Furniture, Richmond, VA

2002
Most Outstanding Graduate Sculpture

2001
Purchase Award Reciepent, Georgia Perimeter College, Decatur, GA
Most Outstanding Graduate Sculpture

Teaching Experience
2012-Present
Collegiate School, Richmond, VA

2005-2012
St. Paul’s School, Concord, NH

2005
Adjunct Professor, Brenau University, Gainesville, GA

2003
Adjunct Professor, Oglethorpe University, Atlanta, GA

2002
Adjunct Professor, Georgia State University, Atlanta, GA

2000-2005
Adjunct Professor, Atlanta College of Art, Atlanta, GA

It is difficult to select one unifying element for this body of work as there are many that would suffice: language, repetition, philosophical orientation, or perhaps the desire for control. What I have attempted to do is to illustrate some philosophical problems and issues in art practice in a non-propositional manner. In other words, my objective is to develop an experience (part emotional, part conceptual) without presenting statements requiring decisions as to their truth or falsity. In all of these works there are multiple layers of interest to unpack without having to read dissertations on the topics. It is my intention to draw out some problems such that conceptual perplexity, visual interest, and accessibility receive equal footing. I hope you will find lasting value in the experience of these pieces.

Some pieces in this body of work, such as Summary of Everything, Anti-Intentionalism, Map 120, and Self Evidence, result in a texture similar to barnacles crowed onto the base of a bridge piling. This texture, the visual density of marks/letters/expressions, results from the desire to draw a logical conclusion, to get the correct answer, to know, to rest. The emotions one might have when experiencing these pieces are what we encounter when looking carefully at the way the world is and the arguments presented to explain it. Anti-Intentionalism and Map 120 are concerned with identity, of the art object and of things in general. Summary of Everything and Self Evidence deal with the issue of justifying claims to knowledge.

Nothing is Necessary and A Piece of the Conversation use repetition of linguistic expression in an organized manner that does not result in the density mentioned above. These pieces feel like Zen koans as they trap reason in a circle without end. There is, however, an objective, to see a record of this activity on the whole and to develop a feeling for the absurdity involved.