Today we’d like to introduce you to Jill Grimes.
Jill, please kick things off for us by telling us about yourself and your journey so far.
I think I was born with the temperament to sit for long periods of time and focus on one activity, which eventually became a studio practice. My parents were always supportive, and I went to the Kansas City Art Institute for a BFA in Painting. It is an excellent school.
After undergrad, I lived in New York for a while, working in a fashion photography studio and making bad paintings. I needed to refocus, and eventually moved up to the Boston area to attend the Post Baccalaureate in Studio Art program at Brandeis. From there I went to BU for my MFA in Painting. I’ve been lucky to have studied with some great painters and teachers. I stuck around Boston after grad school, and have been teaching at BU for the past 12 years.
Can you give our readers some background on your art?
I primarily paint and draw from something set up in my studio, which at the moment is flowers and plants. I like to work with them singularly and then assemble a composition based on how forms and colors work together.
I’m interested in the process of composing the painting away from the set-up, this allows for some autonomy from the physical set up, while still working closely from the forms I can see.
The patterns in these subjects are interesting but aren’t truly repetitive, setting up visual rhythms established with leaves and petals. I’m interested in how this can imply a kind of movement between the layers of information.
I like the idea of documenting these natural forms in their current state, as clearly they will grow or die with time. I think about time when I look at paintings, the suspension of forms in the canvas, and in a moment. I consider the close study of these subjects as a way to connect to the natural, and call attention to this aspect of human experience.
What responsibility, if any, do you think artists have to use their art to help alleviate problems faced by others? Has your art been affected by issues you’ve concerned about?
I think the best work reflects the comprehensive experience of the artist. All global events and personal experiences go in the same bucket. Some artists will make banners and scream, and some will retreat to their studios. We all have a history that dictates how we respond to our experiences in our work.
What’s the best way for someone to check out your work and provide support?
My website is Jill-Grimes.com.
I work with Alpha Gallery in Boston, and I can be contacted through the gallery: alphagallery.com.
Now until August 29, 2018 I’m a resident at Main Street Arts in Clifton Springs, NY. My studio is open and I’m there every day. Come on by.
mainstreetartsgallery.com
I have a show up August 1- September 21, 2018 at the Mayor’s Gallery in Boston City Hall. It’s open 9-5 Monday through Friday and open to the public.
Boston.gov
I have work in 2 consecutive group shows at MUSA Collective in Boston: PAPER CUT is up through August 25, and NOTHING GOOD EVER HAPPENS AFTER MIDNIGHT is up September 1-22, 2018.
Check website for hours: musacollectiveboston.com
Contact Info:
- Website: www.jill-grimes.com
- Email: grimes5000@gmail.com
- Instagram: grimes5000
Image Credit:
Susan Byrne
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