Jan Elliott Artist
Statement
The recollection or idea of a place is more evocative and fascinating to me than its physical appearance. Working intuitively from memory and imagination, using layers of texture and colour, I strive for
luminous effects that are informed but not determined by the observation of nature. I am interested in spiritual and emotional qualities, not imitative realism. I think of them as 'soulscapes' rather than
seascapes.
The natural features that are my subject express more than materiality. Sky conveys the transcendent,
that which is outside of and greater than ourselves. Water indicates the ungovernable forces of nature,
and land is both our home and the material of which we are made. Blurring the transitions between
these elements, I aim to create a degree of uncertainty around their boundaries, to provoke curiosity
about these ambiguous places and invite pause and reflection on these themes.
Process
I experiment with composition, tonal structure and palette in my sketchbook before scaling up and
refining on canvas. Each piece begins with texture gel and paste to create an interesting surface and establish the bones of the composition. I then build the image in transparent layers, working instinctively without references, aiming for interesting effects as one layer partially masks what has gone before. In order to keep the painting surface fresh and lively, my preferred medium for applying the first layers of a picture is acrylic, usually followed by further layers in oils to achieve the desired luminosity. The fast
drying time of acrylic encourages me to work quickly in the early stages, resolving marks, opacity and values instinctively, and avoiding overworking.
You can see me at work in the video clip,
or go to my Instagram page for more videos
by clicking here.
I have four questions I ask about each painting before I am satisfied
that it needs no further work:
Is it beautiful?
Creating something beautiful matters to me, not for any superficial
aesthetic whim but because I believe humans respond positively when
confronted by beauty; we find it uplifting, beneficial to our mental,
emotional and spiritual wellbeing. Of course this goal can be elusive! Rarely do humans share an
identical vision of what constitutes beauty but the deeply satisfying sensation felt when witnessing
beauty in nature is a fairly common experience.
Is it luminous?
Capturing light has always fascinated artists. I vividly recall entering a gallery in the Rijksmuseum in Amsterdam where Rembrandt's Night Watch was on display, accompanied by my young teenage
daughter who exclaimed “That painting has light coming out of it!” This is my goal!
Does it have a sense of space?
Although my paintings do not depict specific geographical locations, I do want to create a convincing imagined landscape that draws the viewer in, to the point where you feel that you might get your feet
wet. In this space, there is the possibility of provoking the memories and emotions particular to each individual.
Is it a little mysterious?
Transient, impermanent, indefinite qualities in a painting invite the viewer to participate in the
interpretive process. Like poetry, I want to create the possibility of multiple responses. This is ultimately much more satisfying to me than a visual statement which imitates nature but has no meaning, however brilliantly and accurately it has been realised.
Influences
The three artists who have had the greatest impact on my painting style are Rembrandt van Rijn, J M W Turner and Caspar David Friedrich. Rembrandt's capacity for creating pictorial atmosphere and drama through the masterly use of light and shade is unrivalled. His use of multiple layers of transparent paint create rich dark areas, contrasted with the opaque impasto highlights that jump out of his pictures.
Turner of course is the ultimate master of the sublime landscape. He liberated the genre of landscape; where it had previously been seen as merely providing the setting for important historical or religious themes, he elevated it to become a respected subject in its own right. His unorthodox painting
technique frequently borders on complete abstraction but there is invariably a message embedded
within.
Friedrich's work is out of fashion and overlooked, probably due to its perceived religious and political content. His landscapes are full of ethereal light and compelling atmosphere, and an eerie stillness. He
has been described as 'the mystic with the brush' and is undoubtedly a genius of German Romanticism.
I find inspirational his notion that a painter who sees no world within himself should give up painting.
It speaks to my interest in creating constructed but convincing and meaningful pictorial spaces, rather
than recording only what my eyes see.
Education
My childhood ambition was to go to art school, although I wasn’t really sure what that entailed. It was an ambition that was actively discouraged by my secondary school, but I was determined to achieve it.
After finishing A levels I completed a Foundation Course in Art and Design in North London, followed
by a BA(Hons) in Graphic Design in Bristol.
I practiced as a designer for six years, first in Oxford and later in London and then trained as an art educator at the University of Cambridge, Homerton College. I resolved to offer my students
unconditional affirmation and encouragement to make art, and I am delighted that many of them went
on to art school too.
Throughout my eighteen years teaching, I continued to develop my personal studio practice, taking
further specialist courses over several years. Painting has consistently dominated my practice and is now the exclusive focus of my working life.