Building on his previous works, American artist Jonathan Viner explores elements of counterculture through a 1970s lens in his new collection of paintings at Dorothy Circus Gallery London. A year in the making, ‘Lives of Leisure’ delves into numerous elements of humanity, ultimately allowing us to reflect on concepts of identity against the backdrop of this fascinating period in time. The journey is one full of insights; in his usual style, Jonathan avoids imprinting specific narratives onto the viewer while still leaving plenty to ponder. The subconscious has played a significant role in his process, and we are taken through a series which resembles cinematic shots more than traditional paintings. These refreshing compositions, combined with his elaborate intertwining of multiple emotions, narratives and symbolism, ensure that ‘Lives of Leisure’ gives plenty of food for thought.
Read more in my interview with Jonathan Viner below as we delve into the journey behind ‘Lives of Leisure’, better understanding the evolution, challenges and thoughts which moulded this remarkably alluring exhibition.
‘Lives of Leisure’ will open this Thursday 21st November at Dorothy Circus London. More details below.
While Viner draws inspiration from a broad range of cultural influences, his works maintain an intriguing dialogue between the austere artistry of the Interior School and contemporary American pop culture.
In a manner reminiscent of Danish painters such as Hammershøi and Holsøe, Viner carefully crafts each canvas to provide a glimpse of a scene while hinting at what lies beyond it. This technique teases the viewer with subtle suggestions of unseen moments or shifts that may follow, imbuing each piece with a timeless sense of narrative depth.
Dorothy Circus Gallery London
Jonathan Viner: ‘Lives of Leisure’
Dorothy Circus Gallery London
35 Connaught Street | London | W2 2AZ | UK
Phone: +44 (0) 755 192 9124
Exhibition Dates: 21st November 2024 – 19th December 2024
Opening reception: Thursday 21st November, with a cocktail reception exclusively for Collectors, Journalists, and Guests of the Gallery.
For more information, email Dorothy Circus Gallery at info@dorothycircusgallery.uk
Interview with Jonathan Viner
Your new works in ‘Lives of Leisure’ explore elements of counterculture through a 1970s lens. What drew you to this particular time and vibe in history?
That’s an interesting period for me—a time when hippies like my parents settled down and had kids like me. Youthful ideals slammed into reality. Analogue technology ruled. Fashion and design was distinctive. There was something comical and endearing about it. The aesthetics of that era provide a rich visual language.
My creative output naturally skews dark. I wanted to incorporate lighter and brighter elements, and this visual language offered many ways to do that.
Was there an overarching thought which dominated your creative process?
Yes, a few: Make it interesting. Make it striking. Make it resonate.
One of the things that I love about your paintings is that they provide enough of a scenario for viewers to form a narrative, but without being overly prescriptive. Is it difficult to balance the concepts that you wanted to paint while keeping an element of ambiguity?
Thank you for that kind observation. The painting has to lead the way. I usually don’t have an articulate idea to paint. I start piecing together the various elements I’d like to paint and then set about trying to make it work as a cohesive scene. The subconscious plays a significant role in my process. I want to figure out what the painting is (or will be) about. Humans are hardwired to figure out what’s going on. The ambiguity is intentional. There’s value to not knowing. It motivates me to wake up every day and want to paint, the way it makes a reader of a book want to keep reading, and it allows the viewer’s own associations to play a role in what the painting means.
I imagine it was quite fun to design the elements to focus on for this series – did you have to do much research, or were you already brimming with ideas that you wanted to get down onto canvas?
With my new work I build upon the momentum and trajectory of my past work. I keep a growing collection of images and use them as reference material when starting new paintings. Then I do more focused image research or shoot photo references of specific elements at certain angles and in certain light situations that the paintings require. I do enjoy it.
You recently replied to a fan on social media stating that all of your paintings are “kinda self portraits in different ways”. Can you share more on this?
Every now and then people say my work resembles me. It’s not intentional, and it’s a little embarrassing, to be honest. I recall one art dealer telling me that and saying that’s something he actually looks for in art. I did so many self-portraits in my student days that it probably left an imprint on my style. I feel ambivalent about it, but it’s okay to harness things like narcissism for creative production.
How long has it taken you to create this new series?
The show has been about a year in the making. A few of these paintings were first started several years ago when I still lived in NYC. I had to put them in storage for a few years while I relocated and built the new house and studio. Taking them out of storage and seeing them again after such a long time was strange. But it was useful, and I could see clearly what was working and what needed to be reconsidered. I basically treated them as under paintings.
Many of your paintings also explore the complicated relationship between humans and the rest of nature, but to me there is an ongoing element: that we humans always feel separate from nature. In works like The Prey Drive, our existence in the scene feels like a direct threat. In The Van Trip we are out of place. Even in paintings like Birdsong and Petting a Rabbit, your chosen colour schemes suggest layers of dissonance rather than complete harmony between animals and humans. Am I reading too much into this or would you agree?
You’re probably on to something! Lots of houseplants in this series too. Humans are domesticated beasts, offshoots of nature, and we contain atavistic urges that need to be controlled. We also exert control over the natural world around us. Nature can be beautiful and miraculous, but also absurd and cruel.
Werner Herzog famously expressed this thought regarding the jungle, back in the early 80’s: “Taking a close look at what is around us, there is some sort of a harmony. It is the harmony of overwhelming and collective murder. And we in comparison to the articulate vileness and baseness and obscenity of all this jungle, we in comparison to that enormous articulation, we only sound and look like badly pronounced and half-finished sentences out of a stupid suburban novel, a cheap novel. And we have to become humble in front of this overwhelming misery and overwhelming fornication, overwhelming growth, and overwhelming lack of order.”
Often integrating refreshing compositions, your paintings feel more cinematic than a lot of traditional figurative art. Are you a fan of cinema?
I’m drawn to cinema as an art form, and like most people, I grew up loving certain films. At RISD I took a filmmaking class, and I enjoyed it, especially my time in the editing room. I was tempted to pursue film further, but I felt that it was too collaborative, expensive, and indirect of a process for me. I needed the accessibility and immediacy of painting. But this is why there’s often a narrative, cinematic quality to my paintings. I love the aesthetics of cinema, and I mine it for inspiration, but I lack the time to become a connoisseur.
Were there any pieces which turned out very different to how you originally planned?
Yes, several pieces evolved from their original concepts. The Squishmallow still life in The Princess was a last minute change. Before that there was a vase of flowers, a glass of water, prescription pill bottles, and a porcelain Napoleon figurine. It wasn’t working for me on multiple levels. The plush toys occurred to me as a solution, and they lifted the mood and highlighted the girl’s youth. They also created an unforeseen opportunity. They were arranged like an audience staring wide eyed at something, but what should it be? The answer occurred to me: it has to be a knife that she or maybe someone else stabbed into the top of the furniture.
That kind of leads into my next question; are you the sort of artist who knows when a painting is complete, or could you continue tweaking for eternity?
It’s the most challenging part of the process for me. As a painting starts to come together, I go into refinement mode. This requires a critical eye and focus on the things that need to be changed, omitted, added, or improved. This is when the painting usually levels up. Things start to feel right and real.
Problems lead to surprising opportunities that wouldn’t have occurred to me had I not created the problem. And sometimes things just go sideways, or take a few steps backwards. I don’t believe in perfection, but I keep thinking it’s right around the corner. I’m a delusional optimists in that sense. I’m like a gambling addict who needs to roll the dice just one more time. It makes stopping very difficult sometimes.
I usually have a dream or two about horrible loss and death when I approach that show deadline. Once it’s out of the studio I feel good again and experience the optimism of starting something new.
After putting so much time and effort into ‘Lives of Leisure’, you must be excited for its opening at Dorothy Circus Gallery!
I’m honoured and thrilled! I first met Alexandra very early in my career. She was extremely supportive and kind. When I left NYC and started building my house and studio in Rhode Island (talk about delusional optimism!) I didn’t intend for it to take so long. When I started painting again, she took note and invited me to show. I’m extremely grateful.
What has it been like working with Dorothy Circus London?
The team at Dorothy Circus Gallery has been incredibly supportive. They’ve given me the freedom to fully explore my vision while providing valuable insights as needed. The communication has been excellent. They are flexible, unflappable, generous, and courteous. It’s a collaborative process that has enabled me to create some of my best work yet.
Well, we can’t wait for your opening tomorrow and I have no doubt that the show will be a huge success once again! Thank you for taking the time to speak with me Jonathan.
I just want to say thank you to Beautiful Bizarre Magazine, Dorothy Circus Gallery, and everyone else who follows my work after all these years. It’s a privilege to share these pieces, and you are crucial parts of the whole equation. I look forward to more enriching experiences, collaborations, and connections with everyone!
All images featured are courtesy of DCG and the Artist.
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