Brianna Parker received Péjú Oshin’s Selection Award in Jackson’s Artwork Prize this 12 months along with her work The Artwork of Frying Plantain. On this interview, she discusses physicalising her ideas, the three phases of portray, and remodeling a easy home job right into a efficiency.
Above picture: Brianna in her shed studio house
The Artwork of Frying Plantain, 2024
Brianna Parker
Oil on canvas, 121.9 x 91.4 cm | 47.9 x 35.9 in
Josephine: Might you inform us about your creative background?
Brianna: I’ve all the time had a pure affinity for artwork. From early on, I found that creating was not solely a method to categorical myself but in addition a method to make sense of the world round me. My sketchbooks grew to become an area the place I explored my actuality, feelings, and creativeness. By exercising this love of making I used to be in a position to refine my technical expertise and visible communication, by experimenting with numerous mediums and learning the practices of different artists. My first step into the artwork world got here by attending artwork college, which was an fascinating but eye-opening and formative expertise. It not solely allowed me to strengthen my creative professionalism, but in addition gave me deeper perception into society and tradition past the curriculum.
Workspace
Josephine: What does a typical working day within the studio seem like for you? Do you will have any essential routines or rituals?
Brianna: Actually, it actually is determined by the stage I’m at with a portray. The preparation stage – stretching canvas, priming and portray the under-layers is essentially the most boring half, as you’re actually ready for paint to dry, so I do a whole lot of admin work at this era. For me, a portray course of unfolds in three sections. The primary third is the happiest half, full of pleasure and momentum as concepts start to take form on the canvas. The center stage typically brings challenges, corresponding to making sense of perspective, how colors work together with one another, and the play of sunshine and shadow. But problem-solving on this section could be very rewarding, because it pushes the work ahead in sudden methods. The ultimate 10% is all the time the toughest because it truthfully is a dread, as you’re always repeating the query of when the work is definitely accomplished (espresso consumption is excessive at this stage). Then the cycle repeats itself, as being able to physicalise and talk only a thought is a magical expertise and extremely addictive.
And Nonetheless my Spirit Blooms, 2025
Brianna Parker
Oil on canvas, 50 x 20 cm | 19.6 x 7.8 in
Josephine: Which supplies or instruments might you not reside with out?
Brianna: I take advantage of Michael Harding oil paints on a high-quality, high quality canvas. I have a tendency to make use of cheap brushes, as I typically paint till exhaustion and don’t have the capability to correctly clear oil paint from them.
Pores and skin colors
Josephine: Do you’re employed from a reference? What’s your course of?
Brianna: When an thought involves me, I consider the individuals I do know who would greatest swimsuit the idea. I then take my very own picture references and with the assistance of Photoshop, superimpose totally different parts to convey the concept collectively. For instance, I obtained the concept to color The Artwork of Frying Plantain whereas getting burnt while cooking. I contacted a mutual pal, who occurs to be knowledgeable ballet dancer, to organise taking picture references. I then went to IKEA to discover a kitchen background to position the determine onto. Whereas portray, I altered the colors as wanted to make sense of the composition, whereas capturing the play of shadow and lightweight.
Nonetheless Life With Bun and Cheese, 2025
Brianna Parker
Oil on wooden, 30 x 40 cm | 11.8 x 15.7 in
Josephine: Do you often draw or preserve a sketchbook? In that case, how does this inform your work?
Brianna: I’d like to say that I sketch concepts on a regular basis, however I don’t, simply because I’m a perfectionist and sometimes find yourself spending an excessive amount of time on the sketches themselves. That stated, I do sketch when uncertain within the strategy of growing concepts, because it helps me make sense of what I wish to create.
Each color Brianna has ever painted
Josephine: Have you ever ever had a interval of stagnation in creativity? In that case, what helped you overcome it?
Brianna: I typically overcome artistic blocks by merely dwelling life, as I’m impressed by the on a regular basis and mundane experiences.
The Tiger Who Got here to Tea, 2025
Brianna Parker
Oil on canvas, 50 x 60 cm | 19.6 x 23.6 in
Josephine: Are there any particular artists or mentors who’ve impressed you?
Brianna: Lynette Yiadom-Boakye for her capacity to create topics from her creativeness. Barbara Walker for her exploration of documentation and erasure. Jordan Casteel for the way in which she connects along with her group and the way it fuels the work she produces. Kehinde Wiley for the way in which he recontextualises classical European portraits. Barkley L Hendricks for his contribution to Black portraiture and illustration, and Habib Hajallie who was my mentor and offered invaluable steerage.
Brianna’s shed studio
Josephine: What had been you eager about or exploring on the time you painted The Artwork of Frying Plantain? What impressed it, and the way did it come to be?
Brianna: Typically in my observe, I seize mundane moments that maintain deeper significance. This scene, specifically, embodies class and rhythm, because the ritual of cooking turns into a cautious dance between endurance and vigilance. The portray transforms a easy home job right into a form of efficiency. I assumed fastidiously about motion, stability, and poise, which led me to collaborate with a mutual pal, knowledgeable ballet dancer to be my muse.
Brianna portray Bending Over Backwards
Josephine: Why did this piece really feel like the proper one to submit?
Brianna: This piece felt like the proper one to submit as a result of it captures a common expertise of cooking and transforms it right into a efficiency, highlighting the class and rhythm hidden in on a regular basis rituals. Additionally, offers plantain lover illustration.
Work in progress of Bending Over Backwards, 2025
Brianna Parker
Oil on canvas, 90 x 90 cm | 35.4 x 35.4 in
Josephine: How did it really feel to maneuver by the phases of the competitors and win Péjú Oshin’s Selection Award?
Brianna: I felt extraordinarily honoured and grateful to be recognised. This was an affirming expertise because it actually is one of the best feeling to only really feel seen.
Workspace
Josephine: What’s your relationship with symbolism in your work?
Brianna: I wish to discover how objects can evoke concepts, feelings, or cultural references. To me, symbolism acts as a visible language, permitting viewers to attach with and interact within the work based mostly on their very own private experiences.
Supplies
Josephine: Are there any new supplies or concepts you’re excited to discover utilizing your prize?
Brianna: I’m at present exploring how the form of the canvas can contribute to the general which means of a piece, and the prize has given me the chance to experiment extra freely. It’s additionally allowed me to replenish on my favorite supplies, which is extremely thrilling for my observe.
Josephine: What’s developing subsequent for you?
Brianna: I’m excited to share that I’ve two exhibitions developing in September in London, showcasing model new work. In case you’d like to remain up to date and be the primary to listen to about them, you’re very welcome to affix my mailing listing on my web site.
Additional Studying
Meet Eleanor Johnson, Winner of Jackson’s Artwork Prize 2025
Jackson’s Artwork Prize 2025 Exhibition at Inexpensive Artwork Honest
How We Collaborate With Artists
Knowledgeable Recommendation on Making Your Approach as an Artist
Store Oil Portray on jacksonsart.com
The submit Brianna Parker: Rhythm in Rituals appeared first on Jackson's Artwork Weblog.
