Janie George: Insistent Color

Janie George gained Andrew Torr’s Alternative Award in Jackson’s Artwork Prize this 12 months together with her work Pine Cone. On this interview, she discusses her follow of writing to assist realise an concept, the perfection of indecision, and turning to ceramics to gradual her down.

Above picture: Janie in her studio

Pine Cone, 2024
Janie George
Oil on canvas, 30 x 30 cm | 11.8 x 11.8 in

Josephine: Might you inform us about your creative background?

Janie: I owe so much to my mom who was superb at making issues and had sense of fashion. We had been a big household and had little cash. All the things was just about handmade and hand grown. She taught me the way to sew, cook dinner and backyard. She additionally purchased me a sketchbook to file the wild flowers that I discovered. That have of drawing to determine and know issues was the start for me. I nonetheless draw issues gathered from the fields.

I used to be fortunate in my artwork faculty expertise, it was a extra formal time however individuals had been fairly nurturing and type. Though I paint now, I studied Printmaking at school and lithography particularly. It was how I learnt to be very exact about color. After faculty I had longish intervals with out a studio. Nevertheless, once I began educating printmaking I used to be ready to make use of the tools after hours. I’ve been at my present studio for about ten years, and it’s been a secure affect on my follow.

I at the moment work with some nice individuals at Bristol Faculty of Artwork. It’s a small faculty and we’re capable of create an atmosphere that’s actually particular. We educate one another our classes and processes, I’ve been capable of make ceramics and prints and even enamelling there.

Studio work in progress

Josephine: What does a typical working day within the studio seem like for you? Do you could have any vital routines or rituals?

Janie: Often, I make a cup of tea and take a look at what I’ve on the go and ruminate slightly. I’ve plenty of issues taking place directly at completely different levels. It takes some time to get my eyes working intuitively so I’ll full apparent duties to begin with. Annoyingly, it’s often when I’m about to depart that I all of the sudden see what I ought to do to a portray, that often means getting all my tools out and messy once more.

Mixing up colors is one thing I do commonly, I get pleasure from it however want to sit down down and listen. Typically it’s mixing up a considerable amount of one color that has to have a selected consistency for a sure mark or space.

The Gardener, 2025
Janie George
Oil on canvas, 120 x 110 cm | 47.2 x 43.3 in

Josephine: Which supplies or instruments may you not dwell with out?

Janie: I may say brush cleaner as I take advantage of a lot of it. Color is essential too. However it’s in all probability the components like liquin, thixotropic mediums, wax or linseed oil that change the standard of the paint.

The consistency is vital to the language of the paint and I wish to work in layers – a few of that are semi clear. I want the motion to really feel proper, typically stodgy and mushy, different instances fluid and quick or diaphanous.

Josephine: Do you’re employed from a reference? What’s your course of?

Janie: Course of is difficult for me to outline as I like to alter how I work. Typically there’s a picture, or an concept however typically only a highly effective sense of a color or color group. These grasp round getting extra insistent till they’ve been given an area to exist.

Which means I’ve a collection of painted backgrounds at anybody time and typically they only keep summary as a result of I can’t enhance on them. I even have issues and pictures and these should in some way be reworked to point out how I see issues. I usually write in regards to the feeling of the concept as it may assist with the realisation.

September, 2025
Janie George
Oil on canvas, 80 x 90 cm, 31.4 x 35.4 in

Josephine: Do you commonly draw or maintain a sketchbook? In that case, how does this inform your work?

Janie: I solely use line drawings nowadays as they assist me with type and composition. Often, it’s drawings of objects from the backyard, fields or seashores. I additionally draw teams of issues I’ve made or collected. These will develop into one thing in a portray – if there’s a factor.

Josephine: Have you ever ever had a interval of stagnation in creativity? In that case, what helped you overcome it?

Janie: Being an artist will not be separate from being an individual. Typically the circumstances of on a regular basis existence are tough and this can affect how I really feel about every part. Being exhausted is an actual problem for me. In any other case I believe stagnation could be in regards to the finish of a cycle and it’s time to take a break and consider.

Having a vacation someplace distant with no web helps. Additionally, for me turning to ceramics has actually helped gradual me down and alter my pondering.

How we will handle life properly with the assets we’ve got is the true check of creativity.

Petal Type, 2024
Janie George
Oil on canvas, 30 x 30 cm | 11.8 x 11.8 in

Josephine: Are there any particular artists or mentors who’ve impressed you?

Janie: I discovered Agnes Martin’s writing actually useful. Additionally, Letter of Recommendation to a Younger Poet by Rilke is superb. In any other case I’ve so many good mates who’re artists who’ve given me help and new methods to consider issues.

I really like the work of artists like Cy Twombly and Paul Klee. However have a particular affection for feminine British artists who work with color and the mix of toughness and charm they present of their work. Mainly, I’m pondering of Prunella Clough, Mary Potter, Susan Foord, Elizabeth Blackadder, and Edwina Leapman.

Josephine: What had been you occupied with or exploring on the time you painted Pine Cone? What impressed it, and the way did it come to be?

Janie: I’ve just a few pine cones that lounge round the home and creep into work. They’re a part of the limitless collectioning of small finds that come house with me from walks.

I had made a portray impressed by Dorothy Wordsworth’s Diary together with her curiosity in gardening and making garments. I discovered it touching how her mix of day by day observations made it into her brother’s poetry. There was a pine cone in that piece and I actually loved its complexity. I like the way in which crops and shells make themselves by coiling outwards, pine cones are spirals with woody petals. Nevertheless, all of that’s unseen on this portray, it simply accommodates a type of panorama.

Moth Brocade (and ceramics)
Janie George
Oil on canvas, 45 x 65 cm | 17.7 x 25.5 in

Josephine: Why did this piece really feel like the precise one to submit?

Janie: I felt that this portray had develop into itself nearly regardless of me and my efforts. I used to be going to be extra particular in regards to the type however it simply wouldn’t let me so I needed to maintain wiping paint away. In the long run the residue of all of the makes an attempt made it excellent. It was a perfection of indecision.

Collar, 2024
Janie George
Oil on canvas, 30 x 30 cm | 11.8 x 11.8 in

Josephine: How did it really feel to maneuver via the levels within the competitors and win Andrew Torr’s Alternative Award?

Janie: I used to be amazed as a result of the portray speaks quietly. It’s such a small portray however has a giant house. Maybe it took one other painter to see that. After I learn what Andrew wrote I felt very emotional. It was so beneficiant and considerate. The help of different artists is so vital.

Janie’s studio

Josephine: What impressed the colors on this portray?

Janie: I work from the bottom ahead. It’s a little bit of a headache however value it as a result of it influences what comes later. I want to reply to a color with color, a white floor doesn’t work for me.

Josephine: There are hints of orange coming via from behind the sure areas, are you able to speak about the way you primed the canvas?

Janie: There’s a brilliant pink within the floor and I wished bits of this to shine via as a sense of affection and love in what was going to occur subsequent. I attempted ochre on high at one stage so it seems orange in some areas. I used to be going mad for violet on the time. I realised I couldn’t combine the hue I used to be in search of. I lastly purchased a tube of Winsor and Newton Cobalt Violet Artists oil paint. Very costly, a birthday current to myself. It sits fantastically on the pink.

Bumble Bee
Janie George
Collage on paper, 45 x 60 cm | 17.7 x 23.6 in

Josephine: Are there any new supplies or concepts you’re excited to discover utilizing your prize?

Janie: Sure, I should purchase a few of the dearer paints and pigments. I’m additionally taking a look at Michael Harding Miracle Medium. It’s not mineral based mostly and that appeals to me. It feels very pure. I’m growing dermatitis so am taking a look at different kinds of solvents or methods of utilizing water-based paints.

Truly, I’m all for growing a approach of working that doesn’t use solvents in any respect. So I will likely be shopping for some pigments and experimenting with these.

Josephine: What’s arising subsequent for you?

Janie: Due to my colleague Jess Turrell’s educating I’ve made some enamelled varieties so as to add to the painted floor of a giant canvas. I’ve a solo exhibition arising in Tetbury subsequent 12 months. It’s a giant house so I’m working with bigger summary unstretched items.

Additionally, I’m engaged on some easy woodblock prints which can be round flower varieties that I can use in neighborhood engagement workshops the place individuals can carry their very own tee shirts and many others and print on them. I truly favor to work with different artists so I’m hoping to lure my mates into exhibiting with me.

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