We can’t even imagine what it must be like to set foot in Jordan’s studio, but there is something really intriguing about his choice of materials. And we kind of like the idea, as much as we’re repulsed by it, that the life essence of slaughterhouse animals isn’t being poured down the drain. In any case, Jordan heats, burns, ages, and mixes the blood to give it different properties before immortalizing it between the plexiglass.
At various layers and infused with light, the blood almost seems alive again, which is a little bit eerie, but Jordan has a more philosophical (and mature?) perspective of his provocative work. “The works become relics of that which was once living, embodying transformation, regeneration and an allegory of death to life,” he says, adding that some pieces incorporate blood-soaked gauze that “creates another textural layer that serves as a map of memory and homage to ancient wrapping rituals.”