Jacquelene Drinkall is a crafty and conceptual artist, curator and thinker working in Sydney, nationally and internationally. She holds an art/theory PhD from UNSW; Masters by Research, and Honours 1 (University Medal) in Painting, from ANU. She undertook early scholarship with Marina Abramovic and Krzysztof Wodiczsko in Paris, and more recently two scholarships from The Banff Centre, and full scholarship from Saas-Fee Summer Institute of Art. She works with telepathy, immaterial labour, energy culture, and materially engaged extended cognition. Drinkall pioneers research into telepathy in art and is cited in Pascal Rousseau’s book Art and Telepathy in the C20th.
Jacquelene Drinkall works in painting, drawing, sculpture, installation, photography, text, architecture, real and virtual world performance, choreography, collage, EEG brainwave interaction, audio and video, kinetics, psychogeography and weaving with telecommunications wire. She is currently researching hyperstitions of military/industrial telepathy and a strange data storage centre that was recently identified by Edward Snowden as the NSA’s ‘Titanpoint’. Titanpoint is a windowless skyscraper with Brutalist aesthetics, also known as 33 Thomas Street and AT&T Longlines Building. Drinkall’s new artwork Data Centre Séance involves collaboration with Melbourne artist, curator and critic Peter Hill; a hacker/programmer; a psychic; and New York collaborators Artcodex.