We are very pleased to throw a spotlight on the work of Juliana Loveday, our September Artist of the Month.
Juliana is one of our Forge Fellows and her ground floor studio is always an absolute pleasure to take a peek into. She has a busy month ahead as she is taking part in the London Design Festival 19 – 22nd September.
How would you describe your current practice
I look to mid-century Art and Design, artist’s such as Hepworth, Nicholson and Arp, as I appreciate work with a strong, clean aesthetic, but I’m not confined to that era. The common theme currently running though my work usually has some connection to a sense of light, energy or vast horizon. My recent paintings are abstractions of sky, overlaid with geometric
2) What are you working on at the moment?
Next up in my calendar is The London Design Festival. I’ll be showing at Kings Cross from 19-22 September. Design trade shows had been part of my working life for years as an Interior Stylist, so I’m excited to be exhibiting at the most significant event in the Design calendar.
3) What are your plans for the coming year?
I’m thrilled to have been commissioned to produce work for The new Nobu Hotel, due to open in London in early 2020.
4) What is the question you get asked most about your work and how do you answer it?
At our Open Studios this year, people were interested in why my studio was so bright white and also why I choose to work in many different types of media.
In answer to my studio set up, I like to have a hermetically sealed white box where I can bring ideas to germinate. Ordering it is very much part of the process. I consider everything that comes into the space carefully. Natural light is such an important quality. Painting the floor white bounces around 70% light back up, enabling me to use natural light in our British winter months.
Regarding materials, making work is such a responsive process; it vibrates with everything we put into it and holds back we’re not fully engaged. So I do enjoy the process of discovery that comes with using something new. You have to have sensitivity, notice what the materials are doing in tandem with your movements and respect that. Trying to summon a specific type of evening light with a roller and some standard ink colours requires dexterity, awareness and patience, not to mention a few attempts. It’s what materials can and can’t do that is one of the biggest drivers and frustrations in my work, particularly in printmaking, where the materials so often seem to be in charge.
5) What or who inspired you to be an artist and why?
Being creative is simply the thing I love the most. This year my milestone was moving away from a self-imposed pressure to create. I’ve learnt that new ideas come through the sum of the physical gestures you make, from all the hours you put in. It’s about learning through doing; the skill grows with you. Equally important has been knowing to let go of those screwy days and just come back and try again the next.
6) Which artist do you most admire and why?
The list of artists I admire is endless, and often not necessarily in a style similar to my own. It’s more about seeing evidence of a creative force running right through the work. Jenny Saville’s ‘The Mothers’ is so raw with energy and life; it is groundbreaking. I ‘felt’ that painting, that’s a pretty powerful thing to render. I also hugely admire artists that have that ability to elevate ordinary objects, asking us re-look and find a whole new perspective. Alison Watt’s ‘Entente’, (included in both this year’s Royal Academy Summer Exhibition and Parfin London’s Show), was simply a sheet of folded white paper, but it was made utterly stunning by it’s rendering.
7) How has your relationship with Digswell Arts Trust strengthened your practice as an artist?
The Digswell Trust is a charity that for over sixty years, has incubated new talent by providing affordable studio space. Alongside our spaces, we get support in the form of development days and opportunities from the community.
On a personal level, I get a lot of courage from sharing my emotions and processes with the other fantastically talented fellows at our studios. It’s about disarming the fear about making work and normalising what can be quite a solitary process. Ultimately all our work is unique and emotional; we bring ourselves to it. When that works, the feeling is amazing, but there is no formula, therefore coming together and talking shop is a perfect leveller.
see more of Juliana’s work via her website