An Interview With Jade Connolly

Jade Connolly deals with the dynamics of interior space and is interested in the passages, rooms, and transitional spaces within the inhabited home. Her work investigates psychological spaces and explores the meanings behind different rooms and transitional spaces. Jade likes to experiment with her mark-making ranging from delicate shallow fields of intense colour to flat opaque gestural brushstrokes. Painted in a range of saturated and muted tones of mostly blue, green, and yellow, Jade’s latest series depicts rooms and passageways from her childhood home, reflecting the conflicting feelings of calmness and anxiety resulting from different lived experiences.

Can you tell us a little bit about you?

Certainly! I am primarily a painter, originally from the North West but now based in London. My journey into contemporary art began in my late teens, following a Foundation Art and Design Diploma where I initially wanted to pursue fashion design. I hadn't been to any contemporary galleries growing up and I was never aware or told about the industry until enrolling on the foundation course. It was during this time that I was introduced to printmaking and oil painting, which ultimately redirected my path. I then pursued a BA in Fine Art at Leeds Arts University, specialising in painting. After completing my degree, I relocated to London, where I currently have a studio space and work within the art industry.

What is your artistic process and how has it evolved since you began painting?

All my paintings are inspired by homes or spaces I have lived in or visited in the past. Sometimes, I work from reference images, while other times, I do not. It really depends on the painting. I typically begin with a quick oil sketch to establish the composition before proceeding to paint. Certain elements of my process are controlled, while others are not. For instance, the composition is predetermined, but the colour palette emerges organically during the painting process. The colours I choose are influenced by my mood and the emotions I wish to convey in the painting. I work in layers, allowing about four days between each layer. This break allows me to return to the painting with fresh eyes, providing a clearer perspective on whether the painting is complete or requires further work.

Where does your love of interior space come from and what is it about them that you find so interesting?

I've always felt a connection to the homes I grew up in or those I've lived in before. Childhood memories often revolve around specific rooms, which hold significant meaning for me and serve as anchors for both memories and dreams. During my BA studies, I encountered Gaston Bachelard's "The Poetics of Space" from 1958, which profoundly influenced my understanding of the human relationship with interior spaces and the emotional architecture of a home. Bachelard's theories became integral to my studies, and I continue to draw inspiration from them in my practice today. Additionally, I was drawn to 17th-century Dutch painting, particularly artists like Vermeer and De Hooch, as well as more modern painters such as Hammershøi. Their work's dreamlike quality and ability to evoke specific emotions fascinated me and I was particularly intrigued by the way they transformed the viewer into an observer, inviting them to witness events unfolding or about to unfold within the painting.

What are some of the reasons you may select a particular room for your work and how do you aim to portray those feelings to the viewer?

It's not that I specifically choose a room to paint; rather, there is a need for it to be painted and documented. I often find myself returning to doorways, hallways, or landings—spaces that we don't typically occupy but use to travel to or pass through to reach other areas. I am also fascinated by the concept of the home as a nest for dreaming and a shelter for imagining, and how our homes adapt to their inhabitants, each one becoming a world within worlds. Having spent years in the spaces I paint, it is often easy for me to paint from memory without using reference images.

What is the importance of colour in your work?

Colour is a significant aspect of my work, and while it is not predetermined before executing a painting, it is often influenced by books, films, or paintings I've encountered. Blue, in particular, holds a special place in my work, and I have always been intrigued by its history—from its use in Egyptian art to its various meanings in Impressionist paintings. I tend to use blue to convey a sense of nostalgia, lending my work a dreamlike quality that can feel eerie and uncanny. When I paint, I am often subconsciously influenced by film. In cinema, colour can serve multiple purposes: it can elicit psychological reactions from viewers, draw attention to visual details, establish an overarching tone, represent characters, and illustrate story arcs. I have always been fascinated by how films use colour to evoke different responses from audiences. The palette for my paintings is selected during the painting process and is usually driven by the desired emotional tone. For example, if I want a hallway to evoke an eerie and nostalgic feeling, I might choose a palette of blues, greens, and purples.

Your earliest memory of art?

I didn't have much exposure to contemporary art when I was younger, but I was deeply fascinated by textiles and design. In particular, I was captivated by the work of Alexander McQueen and Vivienne Westwood in the 90s and 00s. Their catwalk shows were more than just fashion—they were performance art, and I was inspired by how they seamlessly combined art and design. Shows like 'No 13' and 'Voss' were not just about the clothes; they were about the entire presentation. The 90s was also an era that produced some of the most iconic contemporary art, and as I grew older and entered my late teens, I began to discover artists like Rachel Whiteread with her iconic 'House' (1992) and Mona Hatoum with 'Light Sentence' (1992), both artists have continued to inspire me throughout my own practice.

Who or what is your biggest artistic inspiration?

It's challenging to pinpoint a single influence on my practice, as I draw inspiration from a multitude of sources. Philosophers and theorists like Gaston Bachelard, painters like Edward Hopper and Matisse, and artists like Paul Winstanley and Rachel Whiteread have all had a subconscious impact on my work. During my time at university, I was particularly drawn to Paul Winstanley's paintings for their use of muted colours and film-like quality. I was also fascinated by Rachel Whiteread's early work, where she explored occupying negative spaces, such as making a mould of the space underneath a chair or the inside of a water bottle. Additionally, artists like David Hockney, Alex Katz, Lois Dodd, Gill Button, Lisa Brice, and Matisse have all influenced my approach to colour. I also admire the work of Louise Bourgeois, Lee Krasner, Carmen Herrera, Jenny Holzer, Carrie Mae Weems, and Etal Adnan.

Are there any particular artists that you are currently enjoying?

Yes, there are so many! I am particularly drawn to Louise Giovanelli's paintings, and I find Kate Wallace's work to be quite intriguing. Additionally, I'm loving Liang Fu's paintings; there is something truly special about the way he uses colour and applies paint to canvas. I have also been captivated by Mandy El-Sayegh's work and thoroughly enjoyed her recent show at Thaddaeus Ropac in London. The way she utilised the wall and floor space was truly inspirational.

What is your favourite book or film and why?

I don't think I could choose just one! I have thoroughly enjoyed Gail Levin's biography of Lee Krasner; I took away so many insights from it, and her approach to painting deeply resonated with me. Additionally, I found James Fox's book, "A World According to Colour," to be incredibly interesting and informative. In terms of fiction, I have been captivated by Anthony Doerr's "All the Light We Cannot See." It provided me with a new perspective on how we navigate space, particularly from the viewpoint of someone who is blind, which I found to be truly fascinating.

Are you working on any new projects you are particularly excited about?

I am currently working on a painting for the Auction Collective 50 x 50 Auction, which will run from March 31st to April 19th. Additionally, I am co-curating a group exhibition that will be showcased later this year. Amidst these projects, I am also participating in interviews for magazines and assisting students who are writing their final major projects on various topics.

Jade Connolly - Instagram

Jade Connolly - Website

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