FAQ’s or An interview with Myself

Background-Achievements (Short Bio)

The work of Gabrielle Jones has been described by Charles Blackman, Artist as
“…full of shining light, radiant… [she] lets the inner things – her soul – come into her paintings [and] evokes feelings from the viewer”.

Gabrielle graduated from National Art School; has held 17 solo shows in three states & including Goulburn Regional Gallery – her next show will be at gallery Grefiti and at the museum La Rocca in Umbertide, Italy. Gabrielle has been appointed “Artist in Residence” at Bundanon; in Tahiti and Bora Bora; Valparaiso, Spain; at Artscape Toronto, Canada; and at Tweed Regional Gallery. She has been appointed drawing instructor 2012 Sydney Biennale events; curated two exhibitions at Coorah Contemporary Gallery, Blue Mountains Grammar School; won or been highly commended in a number of prizes including the William Fletcher Trust Grant; included as a finalist Fleurieu Biennale, Portia Geach, Mosman, Norville, Muswellbrook, Calleen, St George, Duke Gold Coast; Borough of Queenscliff 150th Anniversary; Korea Australia Art Foundation and Fishers Ghost Art Awards (Three years in a row). Her work has been selected in curated shows in Sydney, Melbourne, Brisbane, Perth, New York and Korea; and acquired by Muswellbrook Regional Gallery; included in public and private collections in Australia, New Zealand, Spain, the Netherlands, New York, Canada, Italy and London.

When did you start painting?

I’ve been painting all my life! Although I did start out in drawing, but I had painted my first realistic horse at 12 and a portrait from a photograph in tonal paint, which I worked out was the best way (blue, if I remember correctly) by the time I was 14. I was in the NSW high schools exhibition for best of HSC in Year 12 and continued part time, through university studies and afterwards, with gaps of about 6-8 months when I had children (two).

What is your work about?

I am an abstract, expressive painter of (usually) large format canvases. I track movement in the environments I paint -which includes my physical environment as well as eye movement and that of my mind (where my reality is always happening anyway!) – the energy, reactions, thinking, feelings, connections to world events, what I’m doing or seeing, etc. I try to notice my thoughts and responses to stimulus (be “mindful”); and track my projected or actual bodily movements through spaces, and paint that.

Hopefully, this adds up to painting how it is to be a 21st Century, “First World” artist. Political events, pop culture, art history, music and rhythm, my home and my physicality all come into this and play a part informing the marks, colours, layers and forms I paint.

Abstraction is important for me, and is the way I choose to communicate, because I’m interested in materialising the elements associated with what you see. I’m not trying to represent something obvious or that you can touch or catch on a camera; something that has a simple meaning or can be represented in a straightforward manner. Abstraction allows me to invite viewers to share the experience, to bring to it their own memories, and to develop their own relationships with the artwork. Music is also important to me and is necessary for me to paint.

My most successful paintings capture the synergy of movement, musicality and process.

So, do you ever paint a subject (or start with one)?

Apart from mark-making being central to my paintings (so no, they’re not “about” anything), they end up being a composite of what’s bubbling away mentally or an event, a situation etc that is huge enough to stop me in my tracks! I guess I start with a subject to the extent that the work is the cumulative result of time spent thinking about something that just comes out in the work (like the Viking references that came from the Netflix series!) Not knowing what I am going to paint and what I am going to end up with, is the thing that keeps me painting. I am constantly surprised by what happens when you get out of your own way (or your left brain).

The act of painting itself is my fuel and the way I find my subjects, if any, allowing thoughts to bubble away and putting them down, almost as they occur. I think of meaning as surfacing during the interaction between the artwork and myself during the making process. Although there might be a conscious starting point, the work may end up in quite a different place to where it began. For me, this is the drug, the excitement in painting and why I make work. If I knew at the beginning what I know when I’ve finished, the artwork itself would almost be redundant. For this reason, I like to let the work unravel and realise itself, rather than following a map to a pre-planned destination.

What is your favourite medium?

I love Oil Paint! Increasingly, I paint with the newer Acrylics that stay open and allow time to remove, rub, scrape, layer etc, but they rarely “take over the space” or radiate from their frames, as oil does, so I often over-paint with oil. Oil paint also allows more transparency and luminosity of colour. Besides, I like the slippery, slidy feeling of it.

Describe your creative process.

I approach making art in a stalking manner! I usually have a library of images that I like, often gleaned from the internet or other artists work (both contemporary and historical) and, for a new body of work, I study this until I have an overwhelming urge to get painting. I truthfully often don’t have anything in mind to paint, just, perhaps, some colours or a need to use bigger brushes or challenge myself in some way.

So most paintings start from brush marks. Then one work begets another – perhaps an interesting departure needs more examination or a problem was raised that I would like to solve in another way, and then I’m off! It is very physical, quick work, all to the accompaniment of music. (Sometimes the music influences the painting and can be the basis of the titles).

 

I always start a few paintings at a time, but usually, by the end of that first day, one painting is calling me to -or demanding- that I concentrate on it. Then I resolve that one and begin, usually the next day, on the next painting calling loudest. I may then revisit earlier works in a major way, having learned more from the painting at hand, or tweak them throughout the period of painting that body of work.

I am trying for the limits of one body of work to continue to the next, and it seems to be happening. I see an internal logic to bodies of work that, to the “outsider” may appear quite different. I’ve been painting long enough now for the different series to be circling back on themselves, revisiting earlier concerns and developing and progressing them.

Actually, I try to avoid overthinking my process too much. Working quickly and spontaneously boosts my energy levels; I am invigorated both physically and creatively by the sense of possibility ahead, and following the “White Rabbit”.

You say you work quickly, why?

Frankly, my best paintings usually take the shortest time. They are fresh, unpredictable and usually break new ground. I often finish a large painting in one sitting of about 8 hours, after which I am totally exhausted. But this often happens after a few false starts and, it has to be said, a break from the studio of a couple of days (eg a weekend). I turn up to the studio as often as I can (usually 4 days minimum) but I need lots of energy to concentrate and battle with the canvas. When everything falls into place, I am on a high for days afterwards, but also, I am totally, physically shattered and can rarely do anything useful in the studio for the next few days.

Mostly these paintings need a little tweaking which can happen after looking at them for a few days, and I may start some other canvases or switch to a smaller scale that can be handled more easily and  to keep things interesting. Some smaller paintings take less time, and some canvases are more contemplative and take longer. All are evidence of the ebbs and flows, the need for action and quiet times that are part of my artistic personality.

Do you have a studio routine?

Yes – it’s a bit superstitious, but seems to work! I usually put the keys in same place near the door (so I can find them after a days session when my head is in the clouds); boil water for tea and immediately enter the painting room and switch on music. I don’t feel right if there’s no music playing.

At the beginning of a body of work (or to shake one up) I look at my best previous work or images from other artists as well as taking a general surf through the internet, or my photos. I have always cleared admin work, news items, emails and social media before I enter the studio – I keep it just for being creative.

What I’ve read, seen or am thinking about melds together and feeds my brain, then I get out of the way and kind of record responses and part images that are then layered (as these sources are), recording the mental digestive process in paint. I may start the work by drawing, just to extend the mark-making and develop different, more immediate responses to what I’m thinking about or have seen.

I like my work to show the layers of where I’ve been and the thoughts and process of how I got there – the experimentation and introspection built into the composition. I give myself over to the process and trust that the “a-ha” moment will occur, which it always does eventually.

I also use sections of my older paintings as structure or a jumping off/starting point, which are then abandoned to the process of painting and being in the zone over time, so they take on a new life. This allows a consistency between bodies of work to develop, though at least one painting in the next series will be a departure and so, lead to the next body of work (which still has some continuation in style or theme).

Are you a studio painter exclusively?

I often sketch in the landscape (or wherever I am and wanting to relax) but my real creations are in a large, hired, separate studio space (Currently in Katoomba). I have worked on and off from home, but really like working where I can get art supplies, have a coffee or meet someone afterwards and feel like I am part of the world. Otherwise, I tend to lock myself in the studio and become obsessed.When running workshops or ArtRetreats with ArtClassSydney, I will paint en plein air or at least use paint to take notes of what I am seeing.

 You stated that music was important to you, what’s your studio sound track like?

All my music is now “Easy Listening! I have a huge number of play lists that include jazz greats, modern and historical composers, electronica, folk, blues, Café Del Mar, Antony Heggarty, Bjork, Radiohead, Eddie Vedder etc etc. but only the smooth stuff so I don’t get annoyed when painting.

How do you come up with Titles?

The best ones come to me while I’m painting, like remembering the title of a well loved book – kind of like recognising what I am painting. But I admit, I also keep a list of great titles that come to me out of the blue and, when stuck, check this to see what suits the painting. Lines from what I am reading, poetry, song titles etc

What are you working towards?

As I have an exhibition in Italy, I am hoping to develop a career on two sides of the world, and hence, spend 6 months of the year in Europe (Italy, Sicily or France) and 6 months here. I have still to see so many museums and I’d love the luxury of studying fabulous paintings multiple times and at leisure.

I’m working towards my first exhibition in Melbourne for years (at Westend Art Space) and I’ve been offered an exhibition at Muwellbrook Regional Gallery in 2019. Apparently, the Italian Gallery has also booked me into the local Contemporary Art Museum for 2018, which is exciting. I’d like to exhibit in a great Sydney or Brisbane  Gallery, too.

Do you have any advice for younger painters?

Forget the “Shoulds” – all those rules or beliefs of what a painting should look like or be. Just paint and paint and the rest will come. Also, work hard/have discipline – but don’t forget to play. It’s this last thing that has given me the breakthrough to more creative, unique work that is a joy to create.

The “Ah Ha!” moment was giving up on the art world and painting for myself – which, conversely, has lead to more attention from the art world.

During the GFC, it was relentlessly difficult to get work shown and so, have any positive feedback. But I realised that I really did paint because it was the only thing I wanted to do and moreover, I needed to do it. So focusing on the work and not the result has helped me through down times. And truthfully, unless I am travelling or have other important commitments, I am painting regardless of scheduled shows. Lately, these have also been consistent, for which I am truly grateful (so not too many downtimes!).

As for getting my mood up – music always helps as does the gym and exercise. And I love instagram -it’s a great way to meet other artists and find support, see new art and to get your art out there!