Jill Carver

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Jill Carver
Judge For: 6th Annual Competition Month #12 - November 2012

View Jill Carver's Website

 

Originally from London, England, Jill Carver moved to the United States ten years ago. Before becoming a full time professional artist, she was a curatorial research assistant at the National Portrait Gallery in London for 12 years. Jill currently divides her time between Austin, Texas, and Rico, Colorado.

A ‘painter’s painter’, recognition for her work has come quickly, and she has won numerous awards including ‘Artists Choice’, most recently at the Laguna Beach Invitational in 2009 and previously at Telluride in 2009 and at Plein Air Easton in 2008. She has participated in the prestigious Maynard Dixon Country event for four consecutive years, and was invited to participate in the ‘Artistic Horizons’ show in Bozeman this year. She is a popular and highly regarded teacher and is represented by the Insight Gallery and Wally Workman Gallery.

  “Nature has provided me with a spiritual compass in life, and observing it and drawing it has always been, for me, the most rewarding way to honor that reverence. I prefer to paint landscapes that I know intimately, since I believe that the knowledge gained through quiet observation and meditation is just as important as the actual application of paint to canvas. Rather than go out into the landscape with the notion of ‘seeking’ a painting, I find that the stronger ideas appear to me, or are given to me, when I am hiking, walking my dogs, fishing, or meditating – when I am utterly ‘present’; when I am the student, the observer, and the recipient; when I ‘listen’ rather than impose my will. I then return to the scene as a ‘hunter-gatherer’ and make numerous field studies and notes before I develop the piece in the studio. For me a painting should be evidence of a process of observation and acquired knowledge rather than a concluding statement. The process, not the product, is the closest I have come to ‘living life’ in its truest sense.

 My work walks the ‘line’ between abstraction and realism, and I enjoy that ‘dance’ or ‘tension’.  As I keep reminding my students, artists should think of themselves as poets rather than journalists. I want to say something ‘specific’ about my reaction to a place or a moment in time – to capture the essence but not the whole. I process any idea through analyzing it in terms of shapes of abstract color rather than content. Certain elements will be eliminated totally and others exaggerated to achieve that goal. I particularly enjoy taking something ordinary or incidental and creating an iconic image of it that celebrates nature and challenges the viewer to be more observant of their surroundings.”