Deep Sound,
Excerpts from two films,
Long Before the Fatigue Makes It Impossible 
The Sound of Fireworks Dulls to a Soft Roar

Both works also seen here as part of an exhibition, The Future of All of Our Plans at School of the Art Institute of Chicago, summer 2020. 

Life Saving and Water Safety
Video: Jane Foley
Performers: Jake Krakovsky and Hez Stalcup

Nothing Fits In The Tub 
At Volatile Parts Residency, Atlanta, with performer Erin Palovick, September 2019. 

Comedic, chaotic, and tender, Nothing Fits In The Tub is a sound performance with an underwater microphone, in a site-specific resonance chamber.
Within a room that listens to itself, conversations of visitors become a musical din, footsteps become possible bass lines. The basin itself is also a site of activation— thumped like a ripe melon,  reverberating the howls of a submerged, deflating balloon. Sound begins as a clear echo and slowly repeats, blends, and fades, like a more sustained, reverb-ey version of singing down a hall or playing accordion on a cliff.

Life Saving and Water Safety
Solo exhibition at Day & Night Projects, Atlanta
Nov. 1–24, 2018

Life Saving and Water Safety
Digital video projection by Jane Foley
Performers: Jake Krakovsky and Hez Stalcup
Run time 3:58

Sad Athleisure
cast concrete, ratchet straps

A Banana By Any Other Name
cast concrete, steel, bungee cords

dreamt you played the guitar in the bar in the Kunst Uni except it was also a sad McDonalds and there was a band there slapping knees and playing stompy country way off in a dark corner and a bunch of people standing around looking hip
plaster, fluorescent light, electrical cord, paint

electric beige
photograph on silk , photograph on paper
48” x 60” 

lefty handshake
concrete, steel, paint, conduit, lighting

above photos 1-5: by Jane Foley
above photos 5-10: by Charlie Watts Photography

Press release from Day & Night:
Day & Night Projects
is pleased to present Life Saving and Water Safety, a solo exhibition by Atlanta artist Jane Foley. Through a large video projection and series of sculptures, Foley explores the dynamics of support in gestures of holding, weight, and embrace.

Inspired by black-and-white photographs in a 1950s manual on ocean swimming and rescue, Foley has created a choreographic framework for two performers in a pool. These movements are expanded into video, concrete sculpture, and translucent images on silk. The artist’s work looks toward the ungainly and the triumphant—the pool floatie full of concrete, bending past its tiny lifespan; two men in the water reaching, reaching, reaching for each other, until they’re both afloat.

all projects below made during residency at Atelierhaus Salzamt, Linz, Austria, May 2017.

Images above, from top: 

1. Sad Discotheque
DJ set at an art opening, Rent Was Due On The Fifth, at Altered Means in Atlanta, performed by Skype from a studio in Linz, Austria. July 5, 2017.

2. Leggy Office Plant in the Closet.
Parchment paper, masking tape, 36” x  26” x  36”

3. A Home Temporary.
Vellum, paper, ink, wood, glass mirror.  24” x  28” x 10”

4. Outside view of Atelierhaus Salzamt, housing the studio residency and galleries

5. Projection experiments involving 3-D projection surfaces, and animated, digitally-scanned sreenprints

6. Studio window with drawings, overlooking the Danube

7. Field recordings in a very resonant tunnel under Linzer Schloss

8. Parrots That Would Eat Their Own Tiny Violins.
Ink on Yupo. 2” x  1”