Jeanette Andrews: The Illusionist Bridging Art, Science, and Perception
Jeanette Andrews, a contemporary illusionist, defies the ’90s kitsch perception of magic, immersing herself in the art world to explore the intricacies of human perception. Her work transcends mere parlor tricks, delving into the realm of performance art, film, and installations that challenge our understanding of reality. In 2022, her show “Taken by Artificial Surprise” presented a fascinating juxtaposition of classic illusions and AI-generated sleight of hand, inviting the audience to discern the boundaries between human and artificial deception.
Andrews’s artistic journey took a significant turn when she was invited as a visiting artist to the MIT Center for Art, Science & Technology. Professors Graham Jones, an anthropologist of magic, and Arvind Satyanarayan, an expert in data visualization and disinformation, recognized the potential of magic as a tool to explore visual misinterpretations. This collaboration sparked a new direction in Andrews’s work, leading to the creation of “The Attestation: A Performance of Illusions,” a site-specific show and installation at MIT’s Kresge Little Theater. This performance, which Andrews describes as a thought experiment, delves into the complexities of polarized beliefs, utilizing illusion as a medium to dissect the mechanisms that drive these divisions.
From the Chicago suburbs to her current residence in Queens, New York, Andrews’s life revolves around her art. Her 290-square-foot studio apartment serves as a creative hub, where research, handwritten notes plastered on the walls, and constant immersion in her projects blur the lines between life and art. This dedication stems from a lifelong fascination with magic, ignited by a Siegfried & Roy television special when she was just four years old. By six, she had already made her professional debut, showcasing a precocious talent for captivating audiences.
However, as Andrews matured, her ambitions expanded beyond traditional magic. She sought to explore magic’s potential to express complex ideas, pushing the boundaries of the art form. At MIT, she encountered the research of Kartik Chandra, a PhD candidate studying visual computing systems. Chandra’s work provided the conceptual framework for “The Attestation,” aiming to illuminate the deeply ingrained cognitive processes that contribute to belief polarization. Andrews views this performance as a significant departure, marking the first time she has incorporated a twist ending into her work.
Andrews’s creative process is meticulous and demanding. She recognizes the high-stakes nature of her performances, where every detail must be carefully planned and executed. Contingency planning is paramount, anticipating potential disruptions, from unexpected audience interventions to technical malfunctions. This meticulous preparation allows her to adapt to unforeseen circumstances while maintaining the integrity of the performance. A piece of advice from the late magician Eugene Burger, encouraging artists to “chip away” like sculptors rather than “add” like potters, resonates deeply with Andrews. This philosophy of refinement and precision guides her artistic approach.
“The Attestation” promises to be a unique exploration of the human mind’s susceptibility to manipulation and the role of magic in revealing these vulnerabilities. Andrews’s journey from childhood fascination to her current position as a visiting artist at MIT demonstrates a sustained commitment to pushing the boundaries of illusion and its power to illuminate the complexities of human perception. Her work invites us to question what we see and believe, prompting a deeper understanding of how our minds construct reality. “The Attestation” offers a unique opportunity to witness the intersection of art, science, and illusion, as Andrews continues to challenge our understanding of perception and the power of belief.