11/05/2019
Jeffrey Steven Interview/
How would you describe the style of your paintings?
Well, first of all they are paintings of people -- faces, sometimes portraits. I suppose some viewers might call them caricatures or cartoons. A few paintings might remind people of what we see in graphic novels. Another way to think of them is landscapes of people.
But in many cases there’s also an element of story-telling.
Are there other artists who you admire? Have any of them influenced you?
Like many Canadians I’ve been influenced visually by Tom Thompson and the Group of Seven, for me especially A.Y. Jackson. It’s a question of their feeling for the landscape. As for technique, the Rembrandt portraits provide a strong model, always in the back of my mind. For mood and subject matter I think of Vermeer and for style and humour I think of Grant Wood’s “American Gothic.”
At the same time I’m a big fan of the Belgian artist Hergé and his Tin-Tin, and also the mood of story-telling from the old TV show, Captain Kangeroo.
You also have an interest in music as well.
Yes, definitely. I’ve worked as a professional musician, on percussion and guitar. And I’ve also composed quite a bit as well. Because of this, music often influences my painting. I think to a certain degree the music has encouraged my interest in abstraction and in the exploration of moods.
How would you describe your palette?
It’s a modern palette, influenced by advertising and magazines and TV. But I try to change the palette to bring out different moods, and settings, and scale.
What interests you in this approach?
As I mentioned, there’s an aspect of story-telling in some of the paintings, where you may ask, what’s going on here, what just happened, or what’s the relationship between the people? For example in “Father and Son” or “Sidewalk Day.”
For me there’s an element of humour as well that I hope is shared by some of the viewers. At times the humour pops up from the unusual colours or exaggerated facial features; sometimes the humour is suggested in the title, such as “Selfie and Selfie” or “Adventures of Big Ear.”
How, ideally, would you like your work to be seen?
My vision is to have my work in a gallery. Wall to wall. With the faces looking back at the people looking. In that way the paintings are looking at you. Can you relate to the persons in the painting? How do they make you feel?
Was there a particular moment when you thought “this would make an interesting painting”?
Do you work from photographs or other reference points?
Some of your portraits are based on actual people, is that correct?