The feminine form is a subject that has enchanted painters for centuries. Da Vinci, Klimt, Botticelli and many more have tried to capture and portray the exquisite beauty that is woman and fine artist J Louis continues this timeless celebration of the female form within his oil paintings. His abstract world, void of detail, cocoons his muses as they stretch, curl and lounge across the canvas as they offer their strength, beauty and alluring nature to both painter and viewer.
J Louis is an American oil painter who specialises in blending figuration and abstraction together to create his own unique brand of dynamic impressionism. After attending Savannah College of Art and Design where he would obtain his BFA in Industrial Design, J Louis would quickly transfer from his time in academic to painting professionally.
Louis’ style is heavily influenced by the Vienna Secessionists, most especially the intense and sexually charged work of Egon Schiele. Similarly to Schiele, Louis’ work focuses on the human, or more specifically, female form in which he highlights all of the strength, beauty and allure of women while housing his subjects in a surrealistic setting void of complexities. Currently, J Louis lives and works in New York City and is represented by Principle Gallery.
I am fascinated by the beauty, empathy, and complexity of women. I found this most striking in my wife who inspired my leap into painting women.
Interview with J Louis
You jumped fairly quickly from graduating university to painting professionally. What was that initial transition period like for you and do you have any advice for painters who are looking to make a similar transition?
I certainly did! Although I studied industrial design at the Savannah College of Art & Design, I spent just about any free moment painting for friends, and family and the occasional commission through word of mouth. Before I knew it I was technically a professional artist. What helped me the most at the time was honestly a lack of understanding of how challenging it is to make it as an artist!
With my current experience, I would advise two things. First, you need to create as much art as you can to develop your style as quickly as possible (this typically takes many years). Secondly, I’d reach out to as many artists who are doing what you want to do and strike up a conversation to learn from. After that, you will hopefully have the tools you need to succeed. The last thing to do is fight for your art with unwavering tenacity.
The way I see it, the more fun the perception of any profession, the more challenging it is to enter and maintain. Like being a professional athlete to some people, working as an artist seems especially exciting for other people. Because of this popularity, it is especially challenging, so you have to work that much smarter and harder to make it happen.
Who/what are some of the things that have been inspiring you and your artwork lately?
I’m generally inspired by two things at any given moment. The person I have an opportunity to work with to inspire a painting. And the materials I have the pleasure of using to represent who I am depicting. Lately, I have felt especially pleased with simplicity. There is something about the less you say the more a work may sing.
Women are the central focus of your work, what is it about the female form that you find so enticing to paint?
I am fascinated by the beauty, empathy, and complexity of women. I found this most striking in my wife who inspired my leap into painting women. For most of my life, I’ve also found it easier to be comfortable around women. I can translate my appreciation for human complexity more honestly through that which I am more comfortable with. Women possess a gravity that pulls in my artistic inclinations, if that makes any sense.
Do you regularly practice live model painting? If so, do you have any input in choosing the models you work with?
Early in my career I spend a great deal of time live model sketching at open studio sessions. Most of them have taken place in Chicago at the historic Palette and Chisel Art Academy. Drawing from life is an invaluable practice for artists and well worth the effort, especially while one is developing foundational skills. Every live model session I have participated in had a “mystery” model, so I have never played a role in choosing the model.
Recently, I have placed far more focus on orchestrating my live model photoshoots and working from prepared imagery. In this case, I certainly do choose my model, with the primary goal of finding someone who I think will be comfortable working with a camera and capable of creating a narrative.
Modeling in any capacity is an exceptionally challenging job and I’m grateful for everyone who has shared their expertise with me. I modeled a touch in college and had the hardest time creating a connection through the camera, so I’m well aware of how difficult this task is and leave things to the professionals.
Speaking of models, do the women you paint influence the direction that your painting will go? For example, do you use colour palettes that complement their skin tones and do their personalities bleed into the canvas as you paint?
Absolutely! My hope for every single photoshoot is that the model I work with derails my preconceptions of the shot list and brings something entirely unexpected!!! Every person I work with brings something unique to the photoshoot. Additionally, I often try several outfits in any given shoot. People carry themselves differently from one outfit to another. So I try to maximize this potential even though I rarely render clothing in a final painting.
My set is very minimal and I often use truly gaudy colours in scene. These very vibrant sets allow me to capture more exciting colour stories in the reflected skin tones of my subjects while adjusting the painting to fit a complementary organization of colour in the final painting.
You often build up layers of paint on your canvases before scraping pigment away to create uneven surfaces. Does this painting style help to create more depth within your work?
It certainly does. I feel that the layers of texture create more visual interest, more unexpected nuances in the painting process, and most importantly convey the idea of hidden layers that express the subject’s disposition.
Your paintings often include shapes and poses that feel very relaxed, loose and flowing in nature. Is this relaxed feeling something you hope to awaken within viewers of your work?
I am trying to elicit some sort of connection between the viewer and the subject in my work. With that said, just like every relationship is different, I want everyone’s connection to any given work to feel unique. This is why I simplify my compositions and eliminate any unnecessary details, so there is just the view, subject, and their interaction.
I feel that the relaxed, loose, and flowing nature of my poses presents both an exciting compliment to the harsh texture of my painting’s environment and an exciting platform for interaction. To me, people seem the most honest when they are relaxed, and I want to honestly present whomever I am inspired to paint.
What does an average day look like for you as an artist? Do you have a routine you like to follow?
I try to follow a routine, but it is often derailed by serious singlemindedness. I have a hard time getting out of the “flow” while working, lose track of time then scramble to accomplish anything else I planned on doing.
If my day runs smoothly, it starts with a few hours of athletic training, a great espresso, and then a nice long day of painting. Ideally, my days would be that simple.
When you’re not painting, what do you get up to?
When I’m not painting I am either spending quality time with my wife in NYC, or triathlon training. It helps me to focus while painting when things are happy at home, and since I have competed at a high level in athletics for over two decades I maintain my body and mind through competitive racing nowadays.
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