Jacqueline ehle inglefield

“Man is the most insane species. He worships an invisible God and destroys a visible Nature. Unaware that this Nature he’s destroying is this God he’s worshiping. 

• Hubert Reeves

This quote explains quite simply the question I ask myself when creating for past decade. Why is plastic in such surplus when it is also what is suffocating our planet.

This is where my art has landed as quickly as a dragonfly and as slow as molasses.

When I started passionately working with waste it was because of my love of Alexander Calder’s Circus. This gave the seeds of my mind the validation to grow. I began using wire while attending VCU as a painting and printmaking major because it was a non traditional drawing material, wire mesh screen was the shading. I quilt my materials. My art making is very portable. My supplies consist of snips, punches, and needle nose pliers. Walking to work at the Whitney Museum of American Art from my Hell’s Kitchen  apartment I would find special things, old things, things with a history. 

Those objects would become the features of my pieces. I always still painted and drew, but I feel all of my disciplines are one, very free following art form.

The skins have changed from mesh to plastics about a decade ago. At first it was because I wanted to add color in my sculptures, but it was also becoming a very accessible. I can painting plastic with acrylics as small abstracts.

Through working with one use plastic, i have seen a travesty that I can now un see.  We as a species have put convenience above our well being with plastic. So as an Artist my mission has been to bring this massive problem as good for thought.

In 2016 I started working on the ying and yang of plastic and the lost of our Coast in Southeastern Louisiana. As A Studio In Woods Flint and Steel resident I started making my creations plastic shrines that actually surround you. This is the first time I actually thought about pollution and the way religion looks at this Global problem. I was curious about the juxtaposition of worshiping nature in a plastic cocoon as well how plastic had become a false God. The piece I am working on currently now pLASTic HABITat is on the corner Magazine and Gravier where the piece is like a 3/d painting where all components can be changed and move around canvas ( 20’x2’x8’) space.

In this piece I have been filling with plastic wetland fauna appears as the real wetlands disappear.

Jacqueline Ehle Inglefield

New Orleans, Louisiana 70130

504-432-5532 | jackieehle@gmail.com

https://jacquelineehleinglefield.com

Objective

I draw with debris, currently quilting reused plastics together into 2D and 3D sculptures and environments. My creations are sturdy yet light and made solely with hand tools. In Louisiana, I developed my pLASTic HABITat series, which laments our complicity in the loss of wetlands as we smother the planet in polymer skins.

Education

School of Visual Arts — Master of Fine Arts, Art Practice, 2025

Virginia Commonwealth University — Bachelor of Fine Arts, Painting and Printmaking, 1992

Residencies & Recent Work

New Orleans Jazz and Heritage Festival 2026 Sustainability Steeds

Workshop on Sustainability Steeds at Louisiana Children’s Museum 2026

Tulane University Substainabilty steeds Earth Day workshop

Southeastern Louisiana University Alumni Show 2025

Workshop on wire horses at Green Project 2025

Ogden Museum of Southern Art, Artists Sense of Place Residency — New Orleans, Louisiana Flying Horses | 2025–2026

Chemical 14 Suspension show 

Draw a thon 2025 horse workshop

Residency at Nola Nacular 2025

Thesis show “it came from inside the house” Art Cake Brooklyn NY

Ten Nineteen — New Orleans, LouisianaHorses | 2024–2025 solo show

New Orleans Jazz & Heritage Festival

Shell Oil Sustainability Pollution Pony | 2025

New Orleans Jazz & Heritage Festival Refuge Rolling Stones Tongue | 2024

School of Visual Arts Residency 2022

New Orleans Jazz & Heritage Festival Collaboration with Benjamin Franklin High School STEAM Project, Suspended Fish of Lake Pontchartrain | 2023

Atelier de Nature

Deep Water Coastal Louisiana Sharks | 2023

Mythic Creatures: The Unicorn | 2025

Ogden Museum of Southern Art, Artists Sense of Place Residency — New Orleans, Louisiana

SecondTime SecondLine | 2022

Blue Norther Silos Sawyer Yard — Houston, Texas

2022

School of Visual Arts Residency Program

Installation for Preservation Hall Mardi Gras Display | 2021

pLASTic HABITat House Float — Mardi Gras

2021

Window Installation Pop-Ups — 441 Gravier & Magazine Street, New Orleans

2020–2026

Character “Jackie” based on me in Amelia Bedelia Paints the Town | 2020

Kanaval Float for Preservation Hall Jazz Band, Krewe of Freret Parade

2020

pLASTic HABITat — New Orleans Jazz & Heritage Festival

2019

pLASTic HABITat — The Reach Opening, Kennedy Center, Washington, D.C.

2019

Shrine to Louisiana — Prospect.4 Satellite, Art Klub

2017–2018

Sense of Place: Bucktown Seafood — Ogden Museum of Southern Art

2017

Shrines to the Wetlands — Flint and Steel, A Studio in the Woods

2016

Sense of Place: Swamp, Tall Tales and Debris — Ogden Museum of Southern Art

2016

Derelict Crab Trap Project — Lake Pontchartrain Basin Foundation

2016

Louisiana Contemporary 2015 — Ogden Museum of Southern Art, New Orleans

2015

Professional Experience

Resident Artist — Torpedo Factory Art Center, Alexandria, Virginia

1997–2014

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Life

My name is Jacqueline Ehle Inglefield, and I am a visual artist.  Born in New Orleans at Hotel Deiu August 7, 1968. My Dad got a job in Virginia, but my family were the only ones to leave. My family would drive down to New Orleans on any breaks we had. My love of New Orleans is vast. My husband asked me where I would want to live. There was no other choice. New Orleans is my home. Moving back in January 2014, I have had residencies with both the Ogden Museum of Southern Art and A Studio in the Woods. I conduct an open studio that focuses on reusing everyday materials. I worked the Arts Demonstration Tent at the 2019 New Orleans Jazz & Heritage Festival, which led that fall to an installation activation at the opening of The Reach at the Kennedy Center for the Performing Arts in Washington, DC.