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About Jann

Baltimore City

Jann Rosen-Queralt creates environments which integrate the diverse fabric of urban areas and reveal the character of each locale while exploring the poetry of voice, expanding our capacity to learn and maintaining environmental sensitivity. Each series begins with gathering and formulating information and potential technical approaches. Next, small scale models are made to test materials and processes before they are enlarged, revised and fabricated for installation. Looking to the efficiency of... more

Unsung Heroes

Unsung Heroes, Silber Gallery. Goucher College, 2016

(7) Umbrellas - Inkjet print on banner nylon, water, umbrella frames, handmade mounts, 52” Diameter, 39” Depth
(7) Dodecahedrons - laser-cut acrylic pieces from digital photograph, hand-constructed rhombic dodecahedrons, 5"x5"x5"

Work from "Intricate Observations x2", an exhibition featuring pieces from the ongoing series Unsung Heroes, which centers invertebrates and their role as indicator species in water quality assessment.

Underwater photographs from my diving trips are digitally composited and then stitched into umbrellas or fashioned into dodecahedrons (a polyhedron with 12 faces). The works are installed all about the gallery, encouraging an immersive experience of looking as gallery attendees move about the space, becoming part of the grouping of pieces which are hung from the ceiling, sprout from the ground, and protrude from the wall.

Unsung Heroes creates a context for humans to think of themselves as an umbrella species because we, as stewards of the earth, might be considered the most important one, with the potential to protect or neglect indicator species like those featured, through our implementation of policy and steering conservation and its effectiveness. All this underscores that through protecting umbrella species, we can indirectly protect the other orders that make up an ecological habitat.

Jewels of the River

Fairmount Water Works, Philadelphia, PA

Nesting boxes (4 sets), 2016
Digital photographs, cardboard box forms, adhesive
1”x1”x.5” smallest dimension, 7”x7”x2.5” largest dimension

“Microscope Slide” pamphlet (5 slides total), 2016
Digital images and text printed onto transparency film, 3.25” W x 9.5” H

Documentation of Art on the Circuit:Public Participation Day
Programming, staffing, and workshop activities by Jann Rosen-Queralt

Jewels of the River is a love letter to water. It addresses the tenant that creatures within water and their biodiversity or specificity is a fragile community much like yours and mine, and underscores that every community as we know it has a direct connection to a watershed on which its vitality depends. Through exploring the makeup of water in the Schuylkill River, we engage the public with the task of creating greater understanding of what is at stake and our unknowing effect on communities small and large.

A series of interactive objects and works created for Art on the Circuit: Public Participation Day at the Fairmont Water Works including
4 sets of 5 nesting boxes covered in imagery of macro-invertebrates, river water, the Schuylkill River, and regional and global maps, 5 pamphlets relaying ecological information and images from microscopes, video, banners advertising the public events, and multiple public participation days where passersby were encouraged to handle and investigate the items above.

Intermezzo Suite

Kreeger Museum, Washington D.C.

Part I: Cleansing
Cast soap oyster shells, steel mesh
10” D, signage 11 x 8.5”

Part II: Sustenance
Site specific installation
Duratrans 52" x 45" (oval)

Part III: Procession
Cast sugar oyster shells, steel mesh
15" x 15", (excerpt) video 8:48 minutes

With water as the unifying thread, Intermezzo Suite, a triptych of quiet interventions at The Kreeger Museum in Washington D.C. respond to Lloyd and Carmen’s travels and art collecting patterns as well as Philip Johnson’s architecture, in particular his desire to bring the outdoors inside and attention given to materials and framing views.

Objects such as hand-cast soap bars shaped like oysters, a duratrans site-specific installation, and an embedded video raise the ideas of sanitation, purification, and ritual in context of a common domestic setting.

  • Part I: Cleansing

    hand-made soap bars cast from oysters are arranged in the public bathrooms to raise the idea of sanitation, cleansing and ritual in the context of a common domestic setting. A companion label explains the filter-feeding mollusks source in the Chesapeake Bay and their vital relationship to water detergency.
  • Part I: Cleansing (bathroom)

    Installation image of Part I: Cleansing, Kreeger Museum bathroom
  • Part II: Sustenance

    A semi-transparent photograph hangs illuminated from the interior garden window behind. In between two sculptures and at a slightly competing scale, the shark presented is filtering water as it feeds on plankton. Much like the filtering of water, here the flora of the man-made tropical rainforest lends a natural frame and background to the work, evoking the shark’s habitat and standing out from the more static tones and poses of the nearby sculptures.
  • Part II: Sustenance

    Detail from Part II: Sustenance
  • Part II: Sustenance

    Part II: Sustenance activates one windowpane of the Museum’s interior garden
  • Part III: Procession

    Located in the library, this piece blends footage of water-related systems inherent in Johnson’s design with light and color found in works from the collection into an abstract composition of its own. Appealing to both mind and heart, these installations about caregiving and regeneration pierce the confines of everyday reality and encourage us to rethink their place in the world around them.
  • (Detail) Part III: Procession

    Detail from Part III: Procession
  • Video Excerpt - Part III: Procession

    Excerpt from video for Part III: Procession


Source, 2012
an installation combining sculpture, digital sound, photography and public programming

Source is composed of seven elliptical columns that range in height from 6.5' to 9'. They are covered in wax and indigo dyed West African textiles. Each column contains a sensor which triggers a sound component, from a trio of sound compositions called "Water Sonettos" as visitors walk among them. The sounds were recorded during my visit to the Dogon villages of Andjoubolo, Pouroly, Soroly, and Sibi Sibi in Mali, and capture conversations with women in the YAGTU shallot co-operative. Photographs of the women, along with transcripts of the recorded conversations are displayed near the columns. Contributing to an already extant relationship between US Lutherans and the Dogon community, this project was sponsored by the Lutheran World Relief Organization as an outcropping of more general relief-work that addresses shared mission statements of broadening awareness of issues connected to water, women's empowerment and poverty reduction. A main tenant of the partnership was to reinforce ties between the two communities through telling the story of women's stewardship of water in Mali by way of art, performance, and public programming.

Shallots, 2012
chrome, onion bulbs, wood chips

A pair of two chrome plated onion bulbs placed on a thin layer of wood chips. Traditional sand molds were used to cast them in iron. The automotive chrome-plated polish references their value within the Dogon community. Through the sale of shallots, education, medicine, and other food can be acquired.

Water Footprint, 2012
Cast iron, steel, vinyl, water. 54" x 38" x 5"

This piece brings awareness about potable water depletion. A steel plate, cast-iron shallots and an inflatable vinyl oval filled with water, reference the volume of water used to produce shallots, a valuable foodstuff in the Dogon villages. Condensation and evaporation take place within the inflated form, giving Water Footprint a life of its own.

  • Water Footprint

    Water Footprint
    This sculpture references water consumption required to sustain a staple crop. It is a response to a trip to Mali where I met with the women of the YAGTU co-op. Access to irrigation allows them to grow shallots that return profit to pay for their families’ educational and medical needs. Water Footprint brings awareness about potable water depletion. A steel plate, cast-iron shallots and an inflatable vinyl oval filled with water, reference the volume of water used to produce shallots, a valuable foodstuff in the Dogon villages.
  • Water Footprint (Detail)

    detail of water footprint
    Detail photograph of Water Footprint
  • Water Footprint (Installation View)

    Water Footprint (Installation View)
    A woman takes a closer look at the cast shallots and details of Water Footprint, as installed for SOURCE.
  • Shallots

    Shallots is a pair of two chrome plated onion bulbs placed on a thin layer of wood chips. Traditional sand molds were used to cast them in iron. The automotive chrome-plated polish references their value within the Dogon community. Through the sale of shallots, education, medicine, and other food can be acquired.
  • Water Sonettos, (Excerpt) Sound Composite

    1 minute 5 second excerpt from Water Sonettos, the sound piece created for Source. The sound piece features Mali women speaking, singing, sounds of water, and other sound captured by Jann during her time in Mali.
  • Source (Installation View)

    Woman listening to the embedded sound in SOURCE
    A woman leans in to listen to one of the columns that makes up part of the installation SOURCE - which includes seven elliptical columns covered in wax resisted and indigo dyed West African textiles that are arranged about the gallery. Each column has an embedded sensor which, when triggered, plays a sound piece from Water Sonettos, the trio of sound works recorded from my conversations with women in the Dogon villages I visited in Mali.
  • Water Sonettos (Installation view)

    Water Sonettos
    Young girls lean in to one of the columns from SOURCE, in order to hear a sound piece from the collection Water Sonettos.
  • Source (Installation Printout)

    SOURCE printout
    Informational printout to provide further cultural context for the installation of SOURCE and the sound pieces Water Sonettos
  • Public Programming

    Public Programming and Events
    SOURCE brought together local artists, activists and community members to explore our relationship to water systems and water ecology. Creating a unique platform for awareness and examination through the combination of art, NGOs and educational programming, the exhibit tackled regional and global perspectives on water’s role in the matrix of life. The exhibition also featured information and public programs to connect artists and viewers to local and international NGO’s and scientific researchers who confront water quality issues and poverty reduction in their work.
  • Open house activity - casting soap shallots

    documentation of open house programming
    Open house programming - Project Coordinator Ryan Patterson helping youth Sam Bowers make soap using the shallot molds from "Water Footprint" at the Source exhibition.


Confluence, 2006
Concrete, pavers, plant materials, powder-coated steel, water.
Overall Dimensions: 225’ x 65’ x 10’

This artwork explores the inherent balance, continuity, and cycles required in the treatment of waste water. The permanent installation is sustainably designed in that it is powered by recycled electricity and air produced during the cleansing process. Confluence is integrated into the plaza north of the solids building at the Brightwater Waste Treatment Plant in Seattle, Washington. Using data derived from peak periods of water flow in the wastewater system process plant, a kinetic sculptural element called the "breathing lung" recycles water with a smooth, human motion. As the pipes make visible the scale of conveyance and water consumption, the breathing action and volume of water changes according to literal use of water over the course of a day, reinforcing the impact of human use and the ebb and flow of natural tide-pools. Beyond Confluence lies a willow garden. The volume of the willow plants represent less than one percent of the millions of gallons of water treated daily at the facility.

  • Confluence

    dual views
    Two different views of Confluence, (left) facing toward the solids building and (right) facing toward the willow garden.
  • Confluence (Detail of railing)

    Detail of Confluence
    Detail of the metal railing surrounding Confluence
  • Confluence - short video

    A short video by Mithun, narrated by Jann Rosen-Queralt, demonstrating the 'breathing lung' aspect of the sculpture and the flow of water as the element moves up and down.
  • Dual views of Confluence

    dual views of Confluence
    (top) detail of Confluence facing the solids building (bottom) detail of Confluence facing the willow garden
  • Confluence (footprint)

    view of Confluence in context
    View of the footprint of Confluence -Brightwater Waste Treatment Facility Solids Building in the background, and artist-designed pavers in the foreground.
  • Views of and from the Willow Garden

    view of willow garden, view from the willow garden
    (top) view of the willow garden and plaque (bottom) view of Confluence from inside the willow garden The volume of willow plants (behind the workers in the top photo, foreground in the bottom photo) represents a percentage of the millions of gallons of water per day that are treated at the facility. The willow garden or “green volume” is a poetic reference to the flow of water. When the plants reach a height of ten feet, they become a visual equivalent to 15,904 cubic feet (less than 1% of daily flow of the plant) and when converted, measures out to 118, 689 gallons
  • Willow Garden Plaque

    This plaque, located in the center of the seating area of the willow garden, denotes the daily influent and effluent of the water treatment plant.

Resonance - Columbia Heights Streetscape Revitalization

Resonance, 2003-2009

Exterior porcelain tile, concrete pavers, nozzles, water. 30’ Diameter
Street and Park Road NW, Columbia Heights, Washington D.C.
Commissioned by the D.C. Commission on the Arts and Humanities. $180,000.00 Budget

Resonance, a large scale Streetscape Revitalization Project in the Columbia Heights neighborhood of Washington, D.C. focuses on the kaleidoscope as a symbol of the diversity of the surrounding community. The project further emphasizes that theme by utilizing textiles from different geographic locales such as Africa, Latin America, North America and South East Asia. These concentric circles reference the ripple pattern made when droplets fall from above and the center medallions reference the culture of residents of the neighborhood.
For this project, I worked with architects to develop an urban design framework plan and construct a civic plaza that accommodates community events. Our team defined qualities of the neighborhood and public places with commercial and residential support through public meetings, surveys, and consultation with our community steering committee. The work includes a plaza with terraced grassy steps, seating elements, and an interactive mosaic-tiled fountain. Additionally, I developed a series of training workshops to mentor neighborhood artists in mosaic design, and then oversaw the fabrication and installation of 17 medallions along the 14th street corridor. This process extended the project into the neighborhood and helped the community participate in a tangible way, fostering a sense of ownership and pride over the space.


Symbiosis, 2007-2008
Dura-trans digital prints on light boxes, 30"x 30"

This series depicts symbiotic relationships of sea creatures through poetic illumination and interaction of light. Like turning on a light in a dark room, the images are intended to encourage discovery; they reflect interdependent, mutually beneficial relationships between species. Every medallion is comprised of several patterns that have been mirrored and reflected to create symmetrical radiating designs, the details of which can be traced back to the central image if observed through a magnifying glass.

  • Spinecheek Anemone Fish / Sun Anemone, 2007

    When removed from its host, the anemone fish is often consumed by a predator in less than 24 hours. The relationship between the two is based on mutual protection, the anemone warding off predators and the Spinecheek keeping fish from consuming the anemone's tentacles. The fish aerates the water around the anemone and its waste provides food for the host.
  • Rainforest Epiphytes

    15,000 epiphytes exist in tropical climates and 30,000 world-wide. Unlike parasites, an epiphyte will take no nutrients from its host, instead relying on air, rain, and compost on the tree's branches. By clinging to other tall species of trees, the plant is able to gain access to direct sunlight that is not plentiful lower in the canopy. Other advantages include improved access to animal pollinators and the opportunity to disperse seeds utilizing the wind.
  • Epiphyte Orchids

    The orchid's aerial roots gain access to moisture while extending down from a host in the tree. Although the roots wrap around the trunk of the host, it is not harmed in the process.
  • Epiphyte Orchids

  • Orbicular Batfish / Remora

    The relationship between the Orbicular Batfish and small Remoras is a mutual one. The host, in this case the Batfish, gains little from engaging in this relationship. The Remora uses the Batfish for transportation and saftey. It picks up morsels of food dropped by its host and consumes bacteria and parasites from the skin of the host, effectively cleaning it.
  • Tiger Grouper / Banded Coral Shrimp

    When not cruising along the reef seeking prey, the Tiger Grouper will hold its mouth wide open waiting for the banded coral shrimp and other small symbiotes. The Grouper is cleaned by the shrimp as it moves over the grouper's body looking for food. Parasites, dead tissue, bacteria and fungi on the grouper's skin are all staples of the coral shrimp's diet.
  • Epiphyte Orchids II

    Epiphyte Orchids have thick leathery leaves and are adapted to life in the tree canopy where access to a regular water supply absorbed through its roots is not possible. Their miniscule water intake makes them xerophytic plants like cacti or other plants that in response to dry climates or niches where water is scarce, have developed the ability to keep moisture trapped beneath their thick skin.


ARGO, Light City, Baltimore’s Inner Harbor, MD, 2017
Wood, LED lights, video projection
Overall Dimensions: 55’ X 22’ X 11’
Budget: $71,100

Commissioned by Light City Baltimore through the Baltimore Office of Promotion and Arts, this collaborative project with artists Marian Ochoa and Kirsten Walsh was supported by the Maryland Science Center, in front of which it was sited. The immersive sculpture and video installation is inspired by the Greek myth, Jason and the Argonauts Quest for the Golden Fleece. The sculpture references the Argonauts’ ship, Argos, and the narrative for the video approximates the hero’s journey.

Similar to the challenges Jason faced in order to accomplish his mission, the themes of the video are: the power and beauty of water, industrial pollution, storm water runoff and agricultural water use. While the video on the outside of the piece focuses on catalysts for change to the regions' water systems, Argo's interior is illuminated by programmed LED lights which compound the immersive experience of the work.

The piece featured additional programming including interactive performances, an evening of performances by poets and musicians and workshops focusing on light's characteristics in partnership with the Maryland Science Center.

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