I’ve been in Portugal for a month now. Its been difficult emotionally and physically, I’m not going to lie. But when I wake up in this beautiful town, see the stunning sea and walk along the beach, I feel comforted and soooo peaceful and can feel myself healing in many ways.
I have two really sweet neighbors and I’ve been warmly welcomed. These gestures of kindness have meant so much to me 🙂
I’ve been moved to create a small series of paintings made on synthetic paper and water soluble pencils. They explore the magical landscapes and beauty of the sun and the sea. All of these were painted from life or from photos I’ve been taking on my daily walks.
“The Sun shines upon good and bad alike“
Hans Christian Andersen
Small Bursts of Joy
Smalls no. 1-5 Size:10.5 x 7.5cm Medium: inktense pencils on synthetic paper Price: £20 Framed:£30
Small sunset number 1Small sunset number 2Small sunset number 3Small sunset number 4Small sunset number 5
Small sunset number 1
Small sunset number 2
Small sunset number 3
Small sunset number 4
Small sunset number 5
Smalls no. 1-5 Size:10.5 x 7.5cm Medium: inktense pencils on synthetic paper Price: £20 Framed:£30
“Birds sing after a storm; why shouldn’t people feel as free to delight in whatever sunlight remains to them?”
Rose Kennedy
Slightly Bigger Sensuous Sunsets and Scenes (A6 size)
A6-sized no. 1-5 Size:15.5 x 10.5cm Medium: inktense pencils on synthetic paper Price: £35 Framed:£45
A6 sized, number 1
A6 sized, number 2
A6 sized, number 3
A6 sized, number 4
A6 sized, number 5
A6-sized no. 1-5 Size:15.5 x 10.5cm Medium: inktense pencils on synthetic paper Price: £35 Framed:£45
Sea and Sky Come Alive! (A5 size)
A5 sized no. 1-6 Size: 21.5x 15.5cm Medium: inktense pencils on synthetic paper Price: £45 Framed: £55
A5 number 1
A5 number 2
A5 number 3
A5 number 4
A5 number 5
A5 number 6
A5 sized no. 1-6 Size: 21.5x 15.5cm Medium: inktense pencils on synthetic paper Price: £45 Framed: £55
FRAMED! Want your painting ready to hang?
Want a painting? Contact me to buy a piece of my Portugal journey!
Animal in You: How would it feel to dive into your own surreal, dream world through an inkblot painting?
I am looking for lovers of art and the human mind to collaborate with me to produce a series of 60 oil paintings (35x35cm) guided by your interpretation of an inkblot and inspired by what you see within the shapes and forms of the paint.
I’ll invite you to gaze at an inkblot and tell me what pops into your head (I promise I won’t psycho-analyse you, unless you want me to that is!). Once you let me know what you see, I’ll get to work on a painting just for you 🙂
The painting will be created on raw, unstretched canvas. I love the sandy colour of raw canvas. It has a lovely feel and texture and as such is the perfect medium for bringing the inkblot to life.
Your Animal in You painting will be one of a kind with you in mind. Influenced by surrealist techniques and klecksography (creating images out of inkblots) Animal in You explores and celebrates animal symbolism and the subconscious mind.
If I reach my goal
You will be invited to a virtual, solo exhibition and live stream of Animal in You. Your painting will be among the surreal menagerie of artworks on display in a dreamy, interactive, virtual environment. I plan to take the experience even further by creating a memorable book of the inkblot paintings which will include animal archetypes, quotes from participants and potentially, from a qualified therapist or psychologist.
Why Inkblots?
The inkblot test (also called the “Rorschach” test) is a method of psychological evaluation that psychologists use to examine the personality characteristics and emotional functioning of their patients. In my opinion, inkblots are the icons of psychoanalysis and represent the mind’s incredible ability to make sense of random, abstract forms.
I love the process of studying an inkblot and seeing what images pop up, for me it’s usually animals, hence Animal in You.
I’ve always been fascinated by the animal side of our human nature, the instinctual and unconscious desires that often drive our actions. What started as a rather personal series, changed as I began to share the inkblots with people and gain insights into what they were seeing.
Different people see different things within the same inkblot. This is a fascinating way to connect with the subconscious minds of others. I am interested in Jungian archetypes and how the animals that sometimes appear hold surprising symbolic meaning for the viewer.
“The instincts are a far better protection than all the intellectual wisdom in the world”– Carl Jung
*1. You will receive a picture (via email) of an inkblot which has been made on raw, unstretched canvas .
Example inkblot. Each participant will receive a picture of a different inkblot that I’ve pre-made, on raw canvas.
*2. We will have a conversation about what you see (via email or skype) and I’ll use your vision to develop a digital collage as a plan for the painting (If you would prefer not to chat about what you see, you can leave it up to me to create a unique original Animal in You painting with you in mind.)
Example photo collage. Using Photoshop and inkblot photos I create a digital collage based on your interpretation of an inkblot.
*3. I’ll use the digital collage as inspiration to develop the canvas inkblot with layers of oil paint.
Original Animal in You oil painting, 35x35cm, unstretched, raw canvas
*4. I’ll need approximately 5 months of full time dedication to make this project a success. I plan on including (and paying) other creatives as much as possible to help with things like the book and the Animal in You virtual exhibition.
Will feature all the Animal in You paintings, quotes from participants, the artist and a professional therapist/psychologist specialising in Jungian analysis.
Invite to the private view, live stream exhibition
*above is an example of the kind of book I plan to create (A4 landscape, soft cover). Update: I did not reach my goal on Kickstarter but am offering the book at a smaller size. Preorder the book in my shop.
£95
A photo collage is created before each Animal in You painting is started and serves as the plan for the oil painting.
If you prefer prints to paintings, this is a quirky alternative to the Animal in You original painting and is still completely unique to you and your interpretation of an inkblot.
Your photo collage will be printed on museum quality paper with archival inks which means rich, vibrant colours.
Animal in You Photo Collage PRINT
One of a kind, unique to you, based on your interpretation of an inkblot
Archival, museum quality print on Hahnemuhle paper
1/1
35x35cm
Signed
Invite to the private view live stream exhibition
£1 donation to World Wildlife Fund
*will differ from the image below, based on what you see in the inkblot image I send
Example of what your digital print could look like, unique to you and what you see in your inkblot. Created using Photoshop and canvas inkblot images.
£190
An original Animal in You oil painting, based on your interpretation of an inkblot.
Animal in You oil painting (unstretched, raw canvas, 35x35cm)
Animal in You ebook
Your painting featured in the book
Acknowledgement in the book
VIP Invite to the private view live stream exhibition
£2 donation to World Wildlife Fund
Original Animal in You painting on raw, unstretched canvas
£210
Original Animal in You painting PLUS the Animal in You book.
Animal in You oil painting (unstretched, raw canvas, 35x35cm)
Animal in You book
Your painting featured in the book
Acknowledgement in the book
VIP Invite to the private view live stream exhibition
£2 donation to World Wildlife Fund
£490
Go Big! Same process except bigger. Your painting will measure 60x60cm.
Animal in You original oil painting (60x60cm)
Animal in You book
Your painting featured in the book
Special acknowledgement in the book
VIP Invite to the private view live stream exhibition
£5 donation to World Wildlife Fund
*below is an example, your painting will be based on your unique inkblot and interpretation
*painting is created on unstretched, raw canvas and delivered rolled up in a tube for safety. It will need to be framed before it can be displayed.
Example of a 60x60cm Animal in You painting
£950
Make a statement! Same process, even bigger. Your painting will measure 85x85cm.
Animal in You original oil painting (85x85CM)
Animal in You book
Animal in You ebook
Your painting featured in the book
Special acknowledgement in the book
VIP invite to the private view live stream exhibition
£9 donation to World Wildlife Fund
*painting is created on unstretched, raw canvas and delivered rolled up in a tube for safety. It will need to be framed before it can be displayed.
Example of an 85x85cm Animal in You painting
The Animal in You Virtual Exhibition
I plan on working with creatives to build a surreal, dreamy virtual gallery space, which will be accessible to anyone with an internet connection. The goal is to exhibit the paintings online but also to create an alternative gallery space unlike anything you have seen before. Think mood lighting, chaise longues and surprising objects inhabiting the exhibition space.
The beauty of creating a virtual gallery is that the limits that exist in real time and space do not apply in the virtual world, which leaves a lot of room for an imaginative environment that suits themes of the unconscious and dreams. The online gallery will be interactive (meaning you can move around the virtual space using your keyboard or phone, much like a game).
I’m very excited to work with other creatives on this aspect of the Animal in You project.
An example of a virtual exhibition space. The Animal in You virtual exhibition will differ in appearance
The virtual exhibition will have an opening evening in the form of a live stream. You can watch live, online, as I walk you through the virtual gallery space, discussing the paintings and the Animal in You journey. During the live stream, guests can post questions and interact with one another in the comments.
VIP guests will get entry into the live stream one hour before anyone else and will have the opportunity to ask me questions, live, about their painting and the project.
Hopefully I’ll be able to arrange an appearance by a Jungian specialist/therapist to add insights along the way, to talk about inkblots and the subconscious and add value to the live stream experience.
The Impact
Your contribution will help me evolve my creative practice and produce a series of paintings which I truly believe will spark conversation and bring connection and joy to people. It will be another step in the direction of touching as many like-minded art lovers as I can and of sharing the meditative quality, magic and joy of introspective art.
As a professional artist and teacher, this project will help me to develop my practice, not only through the research into this intriguing branch of psychology, but also to develop my craft and collaborate with others to create art with meaning.
Greatart residency and Animal in Me inkblot workshop participants
I have offered several free workshops to the public and have been invited to do my second Animal in You workshop at Greatart, a large art store in London, which supports artists in a multitude of ways. These workshops afford the public the opportunity to create their own inkblots and develop them as they wish, with my guidance.
This project will increase my credibility and allow me to spread my reach, offering more opportunities for the public to engage with art that is therapeutic and psychologically beneficial.
I was born in South Africa and moved to London in 2009 after graduating with a BA (honours) in Fine Art from the University of Pretoria. I create oil paintings in the theme I’m most passionate about, the body mind. I have a great curiosity about dreams and the subconscious and the many ways these drive people. Animal in You combines my love of surrealistic methods like automatism (a surrealist technique of free-association or creating without thought or plan) with pareidolia, the phenomenon whereby we see faces in random patterns, shapes and forms.
I am a qualified teacher of art and design and teach at a college where I realised the therapeutic and psychologically beneficial qualities art had for my special needs learners in particular.
I have gone on to offer several free workshops to the public, two of which have been Animal in Me workshops at Greatart store in Hoxton, where participants made their own inkblots and, with my guidance, brought out their own vision with paint.
Animal in Me inkblot workshop and residency at Greatart
Painting the Animal in Me series started as a meditative process, which helped me to calm my reeling and often overwhelmed ‘animal mind’ during an emotionally challenging time. I have very little control of the shapes and forms created during the inkblot making and so, had to learn to surrender to the process, which, in turn, helped me to surrender a bit more to life. Because of the unpredictable results of the inkblots, I’m always surprised by the results and what people see in them.
Watch my interview with art critic Tabish Khan where I talk about the project and reveal his Animal in You painting
Other Ways You Can Help
Animal in You is an insightful collaboration between artist and viewer and the paintings that result from this amalgamation of minds are delightfully surreal. The Animal in You series is about starting a conversation and opening your mind to see things from different perspectives, after all it’s very rare for different people to see the same thing in the same inkblot.
If you can’t support the campaign financially, please share it with those who might like the idea behind Animal in You. Ask them what they see. You might discover something interesting about them! If you know any animal lovers, psychologists or lovers of the human mind and how it works, please share this with them.
This is a great time to invest a small amount for an original oil painting and become a patron of mine.
“If we lessen the control of our logical and conscious mind we can access the unconscious and uncover its strange and dreamy symbolism, which is as unique as it is universal.”
— Jessica Ballantyne
A cross between an axolotle, bat and a bee <3
Acrylic and oil paint on canvas
30x30cm
£150
Join me for my first residency with GreatArt and have some fun with the magic of inkblots and animal guides <3
The surrealist methods of art making have inspired people all across different fields, from psychology to fashion, the surrealist’s use of powerful, subconscious imagery has been a source of inspiration. If we lessen the control of our logical and conscious mind we can access the unconscious and uncover its strange and dreamy symbolism, which is as unique as it is universal.
The surrealist methods of art-making have inspired people from across different fields. From psychology to fashion, the surrealist’s use of powerful, subconscious imagery has been a source of inspiration.
Join in the art making with the artist, Jessica Ballantyne as she plays with subconscious symbolism using inkblots as the method and medium. During the GreatArt residency, Jessica will create paintings on canvas, in the theme: The Animal in Me. Fascinated by the mythology of animals, Jessica often sees different, wild animals in her inkblots, often melting into one another within the patterns and resulting in a surreal amalgamation of creatures.
Do you want to take an inkblot journey through the magic of your own subconscious symbolism? On the weekend of the residency, Jessica will hold two workshops. Participants can make their own inkblots on canvas, with the artist guiding each step of the way. The artist invites viewers and participants to share what they see in one another’s inkblots.
Using acrylics, participants may transform the inkblots into the illusions they inspire. With the help of the artist, participants can choose to layer and enhance certain features to produce a new artwork or simply, leave the inkblot as it is in its beautiful simplicity. The inkblots created by the artist and participants will hang to dry and be displayed around the red cube, encouraging the public to interact with the artworks.
Manipulating desire; masks, collage and the surreal subconscious by Jessica Ballantyne
Have you ever wondered about an artist’s thought process or why they chose a particular subject?
When you look at any artist’s work you may be hit by the audacity, the seemingly meaningless or talentless display, or be amazed by their concept, their particular skill or craftsmanship. What many artists fail to communicate with their audience is the intimate and sometimes strikingly complex thought processes and interconnections that form the main ideas in their work.
I feel that it is impossible to separate the artist from their work just as it is impossible to separate the poet from their own poetry.
By learning about the artist or asking them probing questions about their work (many artists hate this by the way, but I think it’s very good for us!) if the artist is willing to share, you can start to understand the wealth of ideas behind the art as well as the intimate meanings behind the work and if (and how) it relates to your self.
As I can only speak for myself and my own art, I hope to share with you some of my recent work and the stories behind them and why I chose the particular method of making the art, that is by a process of collage and automatism.
What is automatism and how do I use it in my collages?
Surrealistic automatism or “Pure psychic automatism” as André Breton defined surrealism, covers a range of spontaneous art-making without thought or planning as to what the end result will be. This was thought to be a way to tap into the subconscious and release the logical and structured aspect of the mind, resulting in various art forms. While there are many Surrealist Techniques that use automatism, such as painting, drawing, poetry and writing, I focused on collage.
A Collage is the assemblage of different forms (and often materials) in order to create a new whole. An example of an artistic collage work may include objects, newspaper clippings, ribbons, bits of coloured or hand-made papers, photographs, etc. glued to a solid support or canvas.
When I create the collages, I start off with a collection of various images and objects. I arrange and rearrange the pieces to create a form I’m happy with. Once I have achieved some end result that resonates with me, I stick it down. At this stage the collage is not always finished and I may add flowers, bits of lace or anything else that pops into my head in the process. It is a really freeing type of art making and very enjoyable.
How I choose my images and put them together
I thought a lot about how I would choose the images for the surreal collages. I didn’t want to spend too much time deciding on and scrutinising the images. To create a sense of impulse and spontaneity, I chose images of bodies and masks that I was immediately attracted to. I started by using the images I had lying around the studio; African masks and body reference photographs that I had used for my paintings. I then started combining these images with other objects I found lying around the house and studio; old underwear, onion rags, coloured paper, push pins, ribbon, beads etc.
After I ran out of images in my studio I started to actively seek out images on the internet; images of African masks and of bodies, images of things that struck me on first glance. I didn’t dwell on the images nor did I actively search for anything too specific. I just added them to the collection to be printed out later.
Now, this might sound a bit hippy, but making these collages was more than just a release…it was like a meditation. Hours would go by in what seemed like minutes. I wasn’t aware of thoughts that were arising, I wasn’t aware of anything except the reaction the resulting images were producing in me…
Inspiration Strikes!
On experiencing these images, I knew I wanted to make more, it was such an exhilarating process- so different from painting and much more immediate. It was then that a friend lent me Story of the Eye by Georges Bataille; an erotic literary piece, an artwork in itself. Story of the Eye was to further the idea I already had; of the body as an erotic object of desire that experiences desire and experiences release, only to experience desire again; a continual circle of desire and satisfaction, where the satisfaction is a temporary outcome. I wanted to create a sense of the link between eroticism and death, also inspired by Bataille.
What ends this achieves and why I find it interesting
The resulting artworks are semi-spontaneous outpourings with multiple meanings. I used African masks because of their associations with colonialism and the entry into an unknown land and the contact with unknown people. It is this sense of the unknown and of anonymity that intrigues me about masks. The traditional African masks also possess a strangeness and have magical association with witch doctors, rituals and magic. I find the masks somewhat disturbing and threatening, as though harbouring a menacing presence. I still have a gorgeous one hanging on my wall though 🙂
The African masks are not only a whisper of the continent I was born on, but have been used by artists such as Picasso and Man Ray (amongst others) to represent “savage” sexuality. I find these masks fascinating not only because of their mysterious nature (many were not allowed to even be seen outside of the ritual they were made for) and magical associations but also because the juxtaposition of a white bodied nude wearing a black African mask is, to me the ultimate rejection of traditional beauty of the west and an assimilation of the masculine power and mysteriousness of tribalism. You can read more about African mask meanings here.
How does it relate to you?
Sexuality is a very complex human condition and involves many aspects of ourselves- emotional, physical and spiritual. I wanted the collages to be an amalgamation of these aspects that include instinctual and acted out parts of our sexuality. The collages are meant to inspire an inner looking or simply a different way of looking at ourselves, our bodies and our sexuality. In these surreal collages I explore animal sexuality, desire, sensuality as well as fear. I feel there is too much control in all aspects of our lives and what one most wants is to break free from these apparent constraints. Art making for me, is one of the ways I break free. I hope that by looking at the artwork, the viewer can feel some of that.
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As Above so Below; Collage art by Jessica Ballantyne
I have been washed over with a flood of creativity these last couple of days and it feels great! I think I owe this inspiring frenzy to staying open, not restricting myself to oil painting, and with meeting and throwing ideas off fellow artists. I think the latter is the most significant.
The following pieces are artworks from my Legs that go series. The collages are the fist artworks I’ve made using that beautiful, stunning, wonderful, patterned paper as well as found objects and dried flowers.
“As Above so Below” is really vibrant with lots of textures and tactile elements….I wanted the artwork to beg to be touched! The method of collage is so different from painting that I think I may switch between them when I get fed up with one or the other…:)
The collages are directly referencing the paintings I recently completed titled “Legs that Go Go GO!”. I find the imagery of the doubled legs to be really expressive and feelings can be alluded to, based on how the legs are placed. For example in “Shy” (below) I switched the left and the right legs, which I thought gave them a coy, shy ambiance.
The frames are all flocked by me to give it a deep velvety appearance and feel. I make up the images using a combination of found elements like lace underwear, onion bags etc. and combine them with floral paper and cut outs of my own photography.
Because of the collage technique, the images are made up with little conscious thought. I have a range of materials which I place together until they feel right for me. The mixed media collages are light and whimsical compared to my more serious oil paintings 🙂
“Shy” was the first piece where I incorporated real dried flowers into the artwork to evoke the senses. I wanted “Shy” to evoke feelings of innocence and purity but also to hide an underlying sexuality that is neither innocent, nor pure. The onion bag acts as a textural layer, hinting at the pattern of a fishnet stocking; a symbol of desire, sensuality and availability (in my opinion). The lace border is placed at the height a bridal garter would be, to add to the sign of sexual innocence and purity. I included three dried pink roses and a sprig of lavender to complete the piece.
I tend to gravitate towards themes of objectification and the use of the female body in media imagery, as well as delving into subjective experience and psychoanalysis:)
Legs That Go Go GO! New paintings by Jessica Ballantyne
The days are getting longer, which means… more daylight hours in the studio for painting!!
It also means I can almost start cycling to the studio again, through the beautiful Rainham marshes, which is a healthy pleasure:)
I am very happy to announce that the two paintings I have been working on- for too many months now, are finally complete!
This year I am focusing on creating 12 large oil paintings in the theme of bed and dream. These are the first two in the series. See that big canvas behind them that they are resting on in the above picture? I have made two that size that will be the next two paintings…My aim is to have my first solo exhibition in the beginning of 2016!
The title, Legs that Go Go GO! is a response to the phrase; “Legs that go on forever” a phrase used to describe a tall, slender (attractive?) women.
I have subverted the phrase with “legs that go go go” not only to insinuate the length and mirrored quality of the legs (that really do “go on forever”) but also to insinuate action…something that is rarely attributed to the female form in art and the media.
These legs are muscular and ready to run!
There are a few artists that were visually inspiring for this piece. Joan Jonas being one and Hans Bellmer being another. Bellmer was interested in the fetish. His dolls incorporate adolescent-looking female parts and clothing.
Although he insisted his work was an opposition to the fascist Nazi government, politics aside, one cannot ignore the nudity and prepubescence of these sexually displayed dolls, that make his work as much of an expression of his own sexuality through the female form, as a rejection of the Nazi rule at the time.
Where Bellmer uses images of adolescence ( school shoes, socks, prepubescent body), I added a more “adult” signifier of sexuality and sexual allure and availability- that of the fishnet stocking.
I chose fishnets because they have the same quality that lace has, which I love for the same reason- in that it covers without covering and reveals without revealing completely.
I placed the legs in an unfamiliar surrounding.
They are the inhabitants of a strange land- a kind of bedding, desert landscape- a soft place to run and walk around. I did this because I find the bedroom has always been an important place for me -a space of comfort, privacy and security- to sleep, to dream, to create, amongst other things 🙂
I also associate the bed with death and rebirth; I see deep sleep as a kind of death- death of ego, and waking up as the rebirth of ego and identity.
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I suppose my legs are a direct response to Bellmer’s leggy doll; a sexualised and disfigured female anatomy. However the response is a critical one. The legs in Legs that Go Go GO! are not lying down, they are not passive.
They actively confront the viewer.
My aim was to create an uncanny, living presence in the legs. I wanted to give an uncanny strength and presence to an often purely sexualised part of the female body.
September Open studios; My First Acme Artist Open Studio at High House!
Invitation to High House Artist’s Open Studios; Studio 207
Very excited to announce the open studios. I was lucky to find such a space, in a truly amazing building, with a vibe and studio that I absolutely love!
There’s lots happening, with artists giving talks and demonstrations, followed by live performances and more! See below for the schedule…
Schedule of Events
Friday 19 September, 10am-‐5pm:
Working Studios Day! See artists working in their studios (I am in studio 207 on the top floor) ! Find out about their practice and take part in events and demonstrations throughout the day;
10.30am – Lesley de Freitas (Studio 111): Applying fine art to fashion
11.30am –Anna Masters (Studio 110): Painting demonstration and talk
12.30pm –Justin Malewezi (Studio 203): Model making and stop motion animation (limited numbers)
1.30pm –Philip Melling (Studio 006): Demonstration of oxyacetylene cutting, forming and joining (limited
numbers)
2.30pm –Lata Uphadhyaya (Studio 205/6): The evolution of work from idea, drawing, production of clay
maquette, through to finished piece
3.30pm – Sue Cooper (106): Practical session on making giant paper mushrooms
4.30pm –Jolanta Jagiello (Studio 121): Demonstration of plasma cutting
6.30 Onwards- Pop-up exhibition and drinks reception at the Backstage Centre, High House Production Park 7.30 Onwards- Backstage Centre Autumn showcase: an exciting mix of comedy and music from the local community. Tickets are free but must be booked before you come – book your tickets here.
Saturday 20 and Sunday 21 September,
10am-‐4pm: Open Studios
Artists will be in their studios, ready to talk about and show their work. This in an opportunity, for anyone interested in the world of artists, to engage with them and their work in the artist’s own environment. Many of the artists will have work for sale as well.
I am very happy to announce that Eye-Balling is finished!
This is a piece that explores the gaze and how we look at ourselves and others. This oil painting comments on the nature of self objectification. Self-objectification is the process by which women are conditioned to view their bodies as objects to be looked at.
Each canvas holds a different piece of the body or abstraction of the body. There is distortion and repetition of body parts and an overwhelmingly ‘pink’ and fleshy feeling that contrasts with eyes that are solid, easily recognisable and that stare out at the viewer.
I indulged myself with textures more than usual in this piece, and the combination of spray and oil paint with the lace layers gives it an almost translucent feel.
I will be offering limited edition prints of each section of the piece, made to order for around £45. They will be 40x40cm (as original canvas size) on museum grade paper (Hahnemuhule German Etching paper) and archival ink; the good stuff. They will be limited to 20 of each and will be signed and numbered in pencil.
When someone you know has a couple of surfboards lying around, not being used (except for that time when a group of friends took one out to a snowy hilltop, removed the fins and used it as a four person sledge) you do what any ‘sane’ artist would, ask if you can have the surfboards and then use them as a canvas.
Inspiration behind the piece
I had the idea of creating a human totem pole.
The idea was to create a body (almost like a tree) that was growing, morphing and pulsating into different parts, a body that was uninhibited and uncontrollable. It’s a ‘dream body’ with a sleeping figure at the bottom who acts as the subject; holding the weight of the fleshy mass above. I wanted to express a kind of sexual awakening or growth. I use the female body to create an image of feminine sexuality and presence. I love using distortion and optical illusions for people to see more in a piece the more they look at it. This is a kind of visual game I like to play with spectators.
How I made it
The initial sketch
The idea started as a sketch (as many of my paintings do) which I then transformed into a massive 2.4m pencil drawing on wallpaper. The pencil drawing formed the basis of the idea I had for the surfboard although with the surfboard art, I wanted the painting to be bright, vibrant and like ‘eye candy’.
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Drawing, shading, drawing and shading, large scale drawing, surreal drawing, surreal art, Jessica Ballantyne, melting bodies, drawn boobs, drawn breasts, bodies intertwined, morphing bodies, female body art, totem pole, human totem pole, fleshy totem pole, large scale art, big scale drawing, long pencil drawing, pencil body, pencil feet, pencil bum, fleshy body growing upwards,
Totem Pole pencil on wallpaper 240 x 40 cm
The Surfboard
After sanding and then priming the surfboard with three coats of acrylic gesso, I started off with the main composition in layers of artists acrylic paint. To get the form right and decide on composition, I often first do a couple of layers in acrylic paint before moving to oil paint. It dries faster and lets me get the basics down before applying the thin layers of oil paint .
I did change my mind a few times (as usual) and had to paint over and repaint many of the areas in the background but I am really pleased with the winding, green vines I ended up with and the phallic like protrusions that sneaked into the composition:)
I enjoyed distorting the painted body and mismatching parts, hinting at others whilst completely blurring the lines of where one part starts and the other begins.
The whole fabulously surreal piece culminates, right at the top of the board, in fertile, voluptuous ‘breast fruits’ (I just made that up) and ‘angels trumpet’ flowers, an extremely poisonous flower known for it’s beauty and hallucinogenic properties.
I wanted all the warmth of colour and light to come from this point and move down the colour spectrum as well as the surfboard to the purple face at the base of the surfboard.
These little babies are wooden miniature versions of the original board. They are each hand made by me, with a high quality print of the original surfboard art on the front and finished with three coats of lacquer. Only 100 of these have been made, each one is signed and numbered on the back.
Jessica Ballantyne, surfboard art, art, surfboard, surreal, erotic, disturbing, colorful, vibrant, nude, naked, blue legs, blue feet, purple hair, wooden surfboard, moon flower, art, surf art
The 11th annual Art Car Boot Fair in Brick Lane that happened a couple of weeks ago was fabulous!
About
“The Art Car Boot Fair is an original idea by Karen Ashton and has been developed by Karen and her sister Helen Hayward since our first event in 2004 in London. It was an idea that grew out of a desire to pick up where Joshua Compston’s ‘Fete Worse than Death’ and Gavin Turk’s ‘Livestock Market’ and Articultural Shows’ blazed a trail in the 90’s and to re-introduce some summer fun and frivolity into a thriving but increasingly commercial London art scene. We aim for the Art Car Boot Fair to be a day when the artists let their hair down and for all-comers to engage with art in a totally informal way, and to pick up some real art bargains to boot! Participation in the Art Car Boot Fair is by invitation and referral by original ‘booters’ only”
![The Doll c.1937-8 Hans Bellmer 1902-1975 Medium: Photographs, black and white, and ink on paper Dimensions Support: 185 x 752 mm frame: 211 x 781 x 18 mm Photo: © Tate, London [2015]](https://i0.wp.com/jessicakballantyne.com/wp-content/uploads/2021/10/b4154-hans-bellmer-the-doll-c1937-8.jpeg?w=880&ssl=1)
