• No noble, well grown tree ever disowned its dark roots, for it grows not only upwards, but downwards as well.
    -C.G. Jung via Sister Corita Kent

    The origin of my research roots in existential questions regarding the nature of memory and human emotion. I am particularly interested in the effects that trauma has on memory, the brain and how it stores in the body. The research regarding the genetic transfer of trauma across generations in the field of epigenetics is particularly riveting. Side effects of trauma are of interest for example: repressed memory, reliving vs. recalling, dissociation, hyper-reactivity and hyper-vigilance. Branches of related ideas include: dreams, night terrors, the subconscious, the after-life, spirit, death and near death experience. These themes are woven throughout my oeuvre from my M.F.A. thesis exhibition, Walking in a Wing’s Shadow (2004) to the projects: The Dream Tree, Presence- Absence, Lillie Mae Cane, Shed and Hairstory-Herstory. As an artist and a maker, my work creates physical manifestations of formless, abstract ideas. The physicality of materials and labor-intensive hand-processes establish parallel metaphors while working. These metaphors are often relayed visually in the final work through repetition, the multiple, embossment, shadows and silhouettes.


    Jill AnnieMargaret is an artist based in Boise, Idaho, USA. Weaving a collection of women’s stories and hair, her current work creates a forensic and cultural record that aims to facilitate healing, inspire courage and end human rights abuses against women globally. Her work has been exhibited in Argentina, Japan, Italy, Finland, Portugal, India, South Korea and many locations across the United States. Professor of Art at Boise State University, she has directed the Printmaking program there since 2005. Special Note: On January 6, 2015 Jill changed her legal name from Jill Ingram Fitterer to Jill AnnieMargaret. Her new name honors four generations of women on the maternal side of her family.