Incisive text about time ‘Time is watchful watchless ... Time is a CD box where the CD is missing...’ followed by aria  ‘She will nail time on a cross ...  ... She will wash her hair in the sea and the sea will turn empty.’ (Excerpt from interdisciplinary music theatre project ‘Walls of Paradise’)

Interdisciplinary performance video, with 12 drawings and 12 poems, photographs and music by the artist, consciously associating unconscious interconnections.

The artists’s daily production of drawings, as ironic metaphor of  the world’s creation - viewed as an art auction. Drawings, poetic titles, photographs & music.  (Excerpt from interdisciplinary music theatre project ‘Walls of Paradise’ )

Singing from Arie Antiche the aria ‘O del mio dolce ardor’ by Christoph W von Gluck, for invited guests at the exhibiion ‘Reparations’ at  Kunst im West Gallery, Zürich April 24, 2008.

Interdisciplinary video installation, text, voice, photographs, drawings, composed music, invitation cards and glass table, exhibiting white Dali  shirt, as metaphor of yearning for whatever is elsewhere - set

in lighted cubicle, provided for Kunst Messe Zurich 2007/8.

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3.   web site jeanine osborne will be visible for a further selection       

NOTE

Video of the artist’s sculpture, made from a Ford Capri car, plasterered with white cement, ash and cotton fibre, its doors mounted as ‘wings’,  the inside stripped, except fo driver’s seat and a veil twisted around the wheel, with music for voice and violin, evoking the struggle between car and driver. The machine discards its creator to resurrect into a void. 

‘Resurrection of the Ford Capri‘          2:54     www.youtube.com/watch?v=Pht2i8a12Iu

Jeanine Osborne & Andrzej Kowalski

‘P.S.  chapter one ‘                       3:08        www.youtube.com/watch?v=CzQgEfpKQ-Q

Jeanine Osborne

Opening chapter of P.S. (Pussy Song) examining female voice, gender, in relation to protest - personal, artistic, or political. P.S. includes 17min viodeo, drawings, painting & poems. In this chapter the artist interacts with her drawings and singing of “Les Berceaux” (Gabriel Fauré and Sully Prudhomme). Other chapters relate to specific locations, drawings and selected music, all sung by the artist.