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Jill Slaymaker Bio & Statement
I'm intrigued by complex worlds that exist within each other. My oil, gouache, India ink and metal leaf paintings, drawings and book art depict otherworldly environments, often inhabited by a lone figure lost in a chaotic world.
Nature-based patterns and shapes float in vast skies and landscapes, or are deeply immersed in foliage, partly hidden and viewed in close-up. By combining disparate "puzzle piece" images from sketchbooks, travel photos and found sources, I try to confirm the idea from Western physics and Eastern philosophy that all phenomena is interconnected and interdependent.
The idea of order in nature is comforting to me, in our overwhelming and bombastic digital age. And yet, it's pretty clear that the natural world is an infinitely unsolvable mystery, not to be fully comprehended by even the most brilliant scientific minds.
My recent orange tree series was triggered by a trip to Rome, where I became ill, and then quickly healed while painting under a 900-year-old melangolo (bitter orange) tree, still bearing fruit. I try to include it in every work, as a symbol of rejuvenation and hope.
Nature-based patterns and shapes float in vast skies and landscapes, or are deeply immersed in foliage, partly hidden and viewed in close-up. By combining disparate "puzzle piece" images from sketchbooks, travel photos and found sources, I try to confirm the idea from Western physics and Eastern philosophy that all phenomena is interconnected and interdependent.
The idea of order in nature is comforting to me, in our overwhelming and bombastic digital age. And yet, it's pretty clear that the natural world is an infinitely unsolvable mystery, not to be fully comprehended by even the most brilliant scientific minds.
My recent orange tree series was triggered by a trip to Rome, where I became ill, and then quickly healed while painting under a 900-year-old melangolo (bitter orange) tree, still bearing fruit. I try to include it in every work, as a symbol of rejuvenation and hope.
