Q: Jim, your recent painting, “Wildflowers,” seems to have sparked some deeper reflections. Can you tell us about the inspiration behind it?
A: It’s hard to pinpoint the exact inspiration. It probably started with a painting or wash I wasn’t happy with. I just began working on it, and it evolved. Perhaps I had a vague idea about flowers, or I was experimenting with geometric shapes. It developed into something 3D, with layers that give it dimension.
Q: Flowers seem to be a recurring motif in your work. What do they represent to you?
A: Flowers are a default for me. When I get frustrated with a painting, it often turns into flowers. Ironically, these flower paintings often become some of my best and most popular pieces.
Q: Why do you think people connect with your flower paintings?
A: There’s a universal attraction to flowers – beauty emerging from chaos. This particular painting resembles chaos and fractals. Perhaps the culmination of that chaos becomes flowers. Maybe that’s a reflection of life: lots of seeming chaos, things not making sense, and then eventually, you see the purpose, the overall picture. This principle could apply to anything, from molecules to galaxies. Everything is expanding and can seem meaningless, but when you step back and observe closely, patterns emerge. There are flowers in everything. Then the flowers die, and the cycle begins again.
Q: This painting has an abundance of brushstrokes. Can you explain your process?
A: It looks like it began as a wash or another painting. Some elements were created with outlines. It’s a combination of outlines, patterns, and working with different colors. It took on a life of its own, and the flowers appeared towards the end. It’s important to guide the viewer’s eye, using contrast, edges, and movement. Some shapes have defined edges, others don’t. I especially like the stems. The many brushstrokes keep the eye engaged, and there’s a real sense of depth and detail. I did struggle with the petals, spending a lot of time repainting them. The subtle shadows helped bring them to life.
Q: The colors are very vibrant. How did you choose them?
A: The initial wash set the tone. Once I enter the creative zone, the colors almost choose themselves. I have several trays with many different colors, and when I start working, it’s like they’re all vying for attention. The colors that stand out the most are the ones I use. It’s spontaneous; I don’t consciously make decisions.
Q: You sometimes incorporate black outlines. What’s the thought behind that, and how do you decide when to use them?
A: Often, when I look at a wash or patterns, like looking at clouds or a brick wall, I just start outlining spontaneously. That’s what happened with this one. It’s hard to explain; it’s just a process of brush to canvas and seeing what happens. In this case, the outlines enhance the contrast. This piece was very spontaneous, without a clear direction until the flowers bloomed from the chaos at the end. But if you consider chaos and fractals, they appear random, yet ultimately, patterns emerge. That’s how I view this painting.