Jessica Jordan-Wrench

I told you there was something in the a ir, Installation, Jessica Jordan-Wrench. Photo Credit: Dik Ng.

I told you there was something in the air, Installation, Jessica Jordan-Wrench. Photo Credit: Dik Ng.

My background is in experimental theatre and music with a DIY ethos. This has informed my work both in terms of attitude and motivation. In an age of division and distraction, I am drawn to immediacy. I want to feel something and I want you to feel something too. Inviting an active audience is at the core of my practice. Working across installation, performance, writing, sound and video, I often employ the familiar language of popular culture to navigate unfamiliar terrain.

Alongside my solo work, I collaborate with Eoin Furbank under the name Dot Dash. Together we make noisy theatre, live and installation art: from 30 second punk gigs in the lift of the Turner Contemporary to large scale installations about entropy on Dreamland’s big wheel (more information here). I also work as a writer and sub editor (more information here) and lead yoga classes to drone metal and noise in a record shop in Margate (more information here).

I was selected for Bloomberg New Contemporaries ‘18, exhibiting with them at the Liverpool Biennial and South London Gallery.



2017        Associate Artist, Open School East

2007-08 MA Classical Acting, Central School of Speech and Drama

2001-05 Masters of Drama, University of Kent


Selected Works

2017-19, I told you there was something in the air

Immersive installation featuring mirror-balls, arranged in a constellation on drum stands and projected onto, alongside pre-recorded text and a musical score, underscored by static from six de-tuned radios. 1% of static on detuned tvs and radios is afterglow from the big bang. Here, I used this scientific theory as a launch pad to explore connectedness, memory and intimacy, via a road-trip to the apocalypse. Originally part of The Well at Open School East, it then went on to tour to Hantverk & Found as part of Turner Contemporaries offsite programme, with Bloomberg New Contemporaries (Liverpool Biennial and South London Gallery) and to The Spire in Brighton as part of their Festival programme. The full text can be found here.


2018, the sacred act of remembering in real life

Text spoken through a gong via a surface speaker, so the words are submerged within rich drones. Made in response to Maria Chevska’s “Framing Vision” and performed at the Liddicoat & Goldhill project space in Margate. The full text can be found here.

2018, you took the words right out of my mouth

An immersive video installation in a phone-booth at The Violet Hour, part of Turner Contemporaries offsite programme for their exhibition Journeys with The Waste Land. Here I cut up and re-ordered clips of phone conversations in popular films to create a new narrative that offered an imagined interiority to one of Eliot’s key female characters. Audience members listened to the sound through an altered rotary phone, placing them in an intimate conversation with a lost love/lover/life. 





Photo Credit: Dik Ng

Photo Credit: Dik Ng

2017, All We Ever See of Stars (with Dot Dash)

“Nobody exists on purpose. Nobody belongs anywhere. Everyone is going to die. The feeling of absurdity can strike any man in the face. Oh well, whatever, nevermind. Come watch a show, you lucky so-and-so.”*

Part performance, part gig, part megaphone guided meditation, performed across Dreamland Margate, All We Ever See of Stars featured: a disco ball, a mirror maze, rambling non-sequiturs, a singing seagull and a dancing bear.

 *Camus, Cobain, Deerhoof, dotdash, Morty.

Passing Phase.jpg

2016/17, Passing Phase (with Dot Dash)

24 lights. 24 loops. 24 minutes. A dazzling ode to chaos, performed in circles.

DOTDASH present an immersive performance installation, that explores patterns in chaos and order in disorder. Ultimately asking, is hope a Passing Phase?

Originally commissioned by Margate Festival and performed on Dreamland’s Big Wheel using 24 phasing lights (controlled wirelessly via dmx), sound loops and live performance. It then transferred to the Quarterhouse in Folkestone (a black box studio space), as part of Profound Sound Festival in 2017, following an R&D period supported by Arts Council England and the Tom Thumb Theatre.

“Wow, wow, wow, Passing Phase was incredible and clever … [it was] about daring to hope in times like these, even though we are cheering for sandcastles.” Margate Theatre Club

“Mesmerizing and fundamentally beautiful.” Gemma Cairney, BBC Radio1

For more work with Dot Dash please see here.



2016 -  2018     Institute of Contemporary Music Performance, Lecturer

2016 -   2017    Gallery Manager, Hantverk & Found

2013 – 2017     Co-Artistic Director, Tom Thumb Theatre, Margate

2013 – 2017     Co-Producer, Looping The Loop, Thanet

2015 – 2016    Curator, International Festival of Projections, Canterbury

2015                 Creative Producer, Margate Festival

2015                 Venue Programming Consultant for Fuel, London

Ongoing Freelance Writer, for more information please see here