The first time I remember coming across Jordan Eagles' work was in the 2018 exhibition Germ City–Microbes and the Metropolis, an exhibition that examined the complex history of New York City’s everlasting battle against infectious diseases.
Eagles’ work on view was Blood Mirror (2015-Present), and it was powerful to see the work in an exhibition that showed not only do we try to cope with unfortunate situations but also search for solutions. Blood Mirror is emblematic of two main components of Eagles’ practice: the use of blood, and that it directly confronts the ban on donated blood from queer men.