Artist Spotlight

In our artist spotlight this month Jen Kendra had a chat with artist Jay Kell...

Jen Kendra - Hello Jay – thank you for taking the time to speak with Black Noise Magazine today. We are excited to learn more about your art! So when and how did you first get into making art?

Jay Kell - I spent some time sketching and drawing for my day job and was always a doodler. In 2018 I started having more of an ‘art practice’ where I was more intentional about the efforts. I purchased an actual sketchbook and charcoal pencils and began to attempt things beyond doodles. In 2019 though, I had a summer with lots of time and it turned out to be World Watercolor Month with plenty of prompts to help with ideas and I got myself a small watercolor set. Since then, that has been my primary medium.

JK - What is it about watercolor that you’re drawn to versus the opaqueness of gouache or the impasto of acrylic/oil?

JKell - I am really curious about oils and know a few artists that do amazing things with gouache. Each has their own merits and challenges, as does watercolor. The speed of watercolor is attractive because it allows you to complete a painting relatively quickly compared to oils. Part of the challenge is the fact that it is difficult to cover or layer with watercolors and so in some ways the attempt of a painting is a puzzle, working backwards to build up a painting. It is kind of like Brian Eno’s Oblique Strategies; the constraint forces you to approach a subject differently. That being said, if someone pulled up to my house with a dump truck full of money, I would be tempted to try oils. Another aspect of watercolors that is exciting is some of the unpredictability, flow, bleed, and water effects that you can use to create interesting visual elements which are fairly unique to the medium.

JK - What kind of liberties are you giving/taking with the medium, if any? Or is every picture rendered as it is in life/photo?

JKell - The most aggressive alterations I make to a reference are lighting and color. I typically focus on the shapes provided. Some photos have poor hand placement or a missing limb and so life drawing and anatomy study come in handy there. If I am lucky to have multiple similar shots of a model, I can composite something that might have a head placement I like with a body setting that is what I am looking for, but overall, I try to be faithful in the rendering.

JK - Do you have live models for your pieces and if so, how do you find your models?

JKell - I don’t directly work from a live model unless I am doing a life drawing session. There are a number of local drawing groups in the area, and they have both quick gestures and long pose sessions that may be up to two hours. I work relatively quickly and enjoy the fast gestures. Most of my work in the ‘studio’ (aka the living room) is from photos. I think drawing and painting are different skills and so I work on my figure drawing independently of my painting work, instead favoring tracing, or projecting the image outline and key features/shadows.

JK - Do you have other creative outlets?

JKell - I play guitar and knit and have a solid craft/DIY streak. I have been interested in working clay and have spent some time with the potter’s wheel but need some more direct instruction. Overall, I like to work with my hands. There is something satisfying about having a tangible object at the end of the day. The watercolor/art has been the solid focus for at least 3 years (hard to knit a sweater when you are waving a paintbrush ha ha!). For the moment those are the main creative outlets for me.


JK - Have you been told that your art is like any other artists and if so which ones?

JKell - I have had some compliments regarding my ability to capture light in a similar way to John Singer Sargent. This is some of the highest praise and very gratifying. His watercolor work is something I study and return to often to try to see how he worked the magic that he did. I can only strive towards that level one day. As far as other personal favorites besides John Singer Sargent, the watercolor work of Andrew Wyeth and Winslow Homer are both ones I look to again and again as I try to continue to learn.

JK - Where are you from?

JKell - I grew up in Cleveland, Ohio but moved away in my teens. I have spent time on each coast and a bit in the middle of the country as well. I am currently living in Kansas City.

JK - Do you have other family members that are artistic?

JKell - I didn’t start out in art. I was the science geek of the family. My brother went to art school though. This is probably why I didn’t do much with it until later in life. It just didn’t seem like my thing. Life changes us sometimes!

JK - Your watercolors of the female form are very beautiful. How did you get into painting this subject matter?

JKell - Paint what you love ha ha! I originally started with mundane/vanilla things. But shapes are shapes and I started to pick reference images that were a bit more ‘fun’. I had a knack for it, and it was recognized and appreciated by others. Once some people started to be interested in purchasing some, I started to paint more. I do have a weakness for the backside, and so way too many of my paintings are butts ha ha! In my defense, there are serious shadows and shapes that are interesting and often make for cool compositions. I have slowed my nude work though, not intentionally, but I am focusing a lot more on complete scenes or lighting, making it harder to fit in a figure, unless it is at life drawing. Still, I am sure I will return to figure work over and over because there are way worse things to do with your time ha ha.

JK - You said that you are also into rope – can you tell us a little about that?

JKell - I have been trying to learn to tie. My spouse isn’t interested in rope, but I have been able to explore with a few friends. I love the sensual side of it, less the bondage, and more the control and introduction of restriction. I would only call myself a serious newbie. It takes two to tango and few of my partners have been interested in it. Sadly, the last person interested in exploring rope with me ended up moving away and then I also relocated. So far, I haven’t dedicated the time to starting up the rope work again due to the usual series of life catastrophes. Hopefully someday soon.

JK - Do you feel watercolor artists are slighted at all when promoting your work, or do you have a strong community of others invested in the medium?

JKell - I feel that watercolorists get a quality level of attention and respect. I mentioned some of the strengths of the medium before and feel many contemporary watercolor artists produce magic that is comparable to what other mediums produce. As for the community, I have met so many people that are willing to share their knowledge and skills, tips, and tricks. I find the community very welcoming and supportive.

JK - Have you been a part of any art shows?

JKell - I will often look for open calls for art, both local and distant. Shipping framed art is prohibitively expensive though and makes paintings costly. I have been lucky enough to have stuff at a few erotic art shows like the Dirty Show in Detroit as well as smaller local events. I try to submit things to local galleries and such, but nudes, even tasteful ones, are challenging. Many of my sales are from people who bump into my stuff online.

JK - Do you do commissions?

JKell - I typically only do a commission if I ‘know’ the person. This usually means they are regular commenters or followers and/or have purchased something in the past. If I meet a person in the real world (as opposed to online) I am also more willing to take a commission. Commissions usually cost 2-3 times a normal painting though. They are also very challenging due to poor lighting. I have mentioned some of the gymnastics I go through with an image to decide whether to paint it or not. With a commission it is that PLUS.

JK - What 5 words would you use to describe yourself?

JKell - Analytical, strategic, flexible, teachable, and caffeinated ha ha!

JK - For an artist that is just starting out what advice can you give them?

JKell - Do it! Don’t be afraid to suck! Seriously. Some of the best advice I heard is that you must be comfortable with painting crappy stuff until you get better. Related to this is the quip: ‘Comparison is the thief of joy’. There is always someone who will paint something better or easier or cleaner (and probably sell it for more too!!), but if all we do is look at how much better other people are then we lose sight of how great our own work is (or has the potential to be). I strongly recommend the book Art of Fear by Bayles and Orland. It is an excellent collection of essays on how to let go of those things that we allow to get in the way of creating. Allow yourself to have the time to practice, recognizing that sometimes you have to let yourself be bad at it. It takes time to learn a skill and what looks effortless on some is years of practice to hone those skills.

JK - What is next for you both in life and in your art?

JKell - Life: I am back to job hunting after a little time off. Who knows where that will lead. Art: I am really energized. Despite my comparison comment in the last question, I have been spending time looking at other artist’s work and coming to terms with my skills. My goal now is to push for larger, higher quality images and continue to grow my art practice. If I am lucky, I will have a few more outdoor painting events this summer and hopefully lots of studio time working on quality work.

JK - What are your social media handles?

JKell - I like to keep it simple. It is too much effort to solo manage a bevy of social media platforms. I am primarily on Instagram at Jay Kell Art.