Doriette Jordan is an Omaha-based multidisciplinary artist and advocate whose work spans the intersection of theatrical production and visual installation. With a professional foundation in Human Resources and Family Consumer Sciences, and a minor in Black Studies, Jordan approaches art as a form of “physical research.” Her career began on the stage, where she has contributed to numerous landmark productions, including Kumbaya: A Juneteenth Story, The Color Purple, The Divine Order of Becoming, and Tell Martha Not to Moan, Detroit 67, Holiday Extravaganza, Ways to Win the Woods among many others.
Having served as a director, assistant director, stage manager, and performer for institutions such as The Union for Contemporary Art, The Shirley Tyree Theater, Great Plains Theatre Commons, Omaha Community Playhouse, and Anastasis Theatre Company (where she also serves on the Board), Jordan possesses a unique ability to “set the stage” within a gallery context. She translates the narrative power of acting and song into immersive visual environments.
A former Fellow with The Union for Contemporary Art, her work has gained national reach, most recently with the debut of this exhibition at the Coleman Center for the Arts in York, Alabama. Jordan remains dedicated to uplifting community voices and exploring every facet of the creative spirit embedded within her.
Artist Statement
I am a multidisciplinary artist exploring identity, heritage, and community through a deep connection to my ancestry and cultural roots. I see art as a bridge between generations—a vehicle for storytelling, healing, and transformation. My practice is a continuation of the oral histories shared by my family, and a meticulous tracking of the bloodlines rooted in Chapman’s Place Plantation lineage.
Inspired by the theatrical form of Ethno Theatre, which centers lived experiences, cultural memory, and community voice, I ground my work in truth-telling and embodied narratives. This influence shapes how I gather, interpret, and present stories—honoring both personal and collective histories as vital sources of knowledge and creation.
Working across performance and visual art, I create experiences reflecting the resilience, beauty, and complexity of the Black family. My work seeks to reclaim that identity by crafting with my hands, using my family history, and ancestral motifs to navigate the path back to self.
My project, The Bergamot Crown, centers these ideas through immersive storytelling and visual works and mixed-media form of portraiture. Each portrait carries a layered presence, where faces emerge through textured surfaces of dried flowers, fabric, acrylic paint, and textiles. This form of portraiture becomes a tactile and a symbolic expression. By incorporating mediums, I gently transform the viewer from an observer into a participant.
I aim to create an environment where audiences do not just witness history, but physically correlate their own “sweet” memories with the work. My goal is not to provoke trauma, but to provide a sanctuary for reflection, honor, and the enduring strength of the family tree.
