Jordan Eagle’s Signs of Life, incorporates panels of Plexiglas layered with preserved blood, resins and metals.

In Eagles’ new abstract work, slabs of pure white Plexiglas are marked with minimal organic forms. The curves and flows, created with blood, allow the sleek and smooth synthetic elements to exist in harmony with the organic – illuminating the finite details of the blood as well as its infinite cosmic energy.

In the presence of light, the translucency of the blood is revealed under and between multiple layers of clear resins. (An additional UV coating is applied to each piece to ensure the archival life of the organic material). The multi-dimensionality of each piece retains and vibrates the light, illuminating pools of reds/blacks and proteins with sealed-in air bubbles; simultaneously one could be viewing microscopic, cellular details as well as large scale photographic images of planets.

In some instances the graphic spills, splats and organic patterns conjure the flow of creatures in flight or aerial views of crop circles or the inner rings of trees. The blood mixed with copper, creates an effect that is not unlike erupting molten lava – a sparkling geology of vibrant colors and seemingly prehistoric textures that range from fiery orange to deep crimson.

Eagles has been using blood in his work for almost a decade. Although his techniques and aesthetic are continuously evolving, the underlying themes and inspirations have been constant. About his work and process, Eagles writes:

“In this series, I allow the forms and materiality to stand at the forefront, presenting an unbiased reflection of mortality, spirituality and infinity, while still offering the viewer space for a visceral and primal response. Some say they see in the work the astral origins of life while others see gunshots wounds. Regardless, the use of a flesh-based material to explore something as seemingly intangible as the spirit imparts a profound balance. Blood, most often symbolizing physical death, is in fact a life force. Preserving the blood from an expired source in a new, regenerative context, celebrates the rebirth process that I believe the body-spirit undergoes once life, as we know it, has ceased. The resulting works become moments frozen in time, suggesting that our body-spirits exist in a multitude of physical and spiritual forms – continuums that transcend our individual lives only to be reborn as something different, something new, something that is part of who we already were.”