Jennifer Packer: A Painter of Remembrance and Loss
Jennifer Packer’s artistry has always been deeply intertwined with themes of remembrance and loss. Even before the passing of her beloved partner, poet April Freely, in 2021, Packer’s work delved into the emotional intensity of grief and memory. Her solo exhibition at the Whitney Museum, which opened shortly after Freely’s death, featured a poignant tribute to Breonna Taylor titled “Blessed Are Those Who Mourn (Breonna! Breonna!).” In this painting, Packer captures the essence of mourning without directly depicting Taylor, instead focusing on a young man surrounded by seemingly insignificant objects in a vivid yellow interior. This ability to convey overwhelming emotions through subtle details is a hallmark of Packer’s artistry.
In her latest exhibition, “Dead Letter,” at Sikkema Molloy Jenkins, Packer delves even deeper into the complexities of human existence and memory. Through a series of 21 works created in 2025, Packer explores how people leave their mark on the world and the traces they leave behind after they are gone. The exhibition is not just a reflection on personal loss but a profound investigation into the power of painting to capture the nuances of seeing, feeling, and remembering.
One of the standout pieces in the exhibition is “A.D.I.P.T.A. after Jay Electronica,” a monumental painting that exudes both intimacy and grandeur. The scene is dominated by shades of red, with two figures engaged in what seems like an impossible communication. The title references a song by rapper Jay Electronica, underscoring the theme of connection and communication in life and death. The painting evokes a Matissean sensibility, with echoes of the artist’s iconic work “The Red Studio.” Packer’s meticulous attention to detail and her skillful use of color create a rich tapestry of emotions and memories.
Throughout the exhibition, Packer incorporates motifs of flowers as funerary bouquets, symbolizing the fleeting nature of existence. Paintings like “Innocent of Vanity” and “The Pleasure of Being Ordinary” evoke a sense of anxiety about mortality, while works featuring pianos and playing cards hint at the fragility of life and the uncertainty of fate. Packer’s delicate brushwork and translucent washes of color imbue her subjects with a sense of vulnerability and impermanence, blurring the boundaries between the living and the dead.
In “Dead Letter,” Jennifer Packer invites viewers to contemplate the transient nature of life and the enduring power of memory. Her paintings serve as poignant reminders of the fragility of existence and the profound impact we have on each other. The exhibition is a testament to Packer’s mastery of her craft and her ability to capture the beauty and complexity of human experience.
If you’re in New York City, don’t miss the opportunity to see Jennifer Packer’s “Dead Letter” at Sikkema Malloy Jenkins before it closes on December 13. This exhibition is a powerful exploration of grief, memory, and the enduring legacy of love and loss.
