Back
to the Stroll we go this month, taking a trip to Broadway for a
single showing down in one very artistic basement.
--- Signed
& Numbered opened up its doors once again for another showing,
continuing to be a must-see stop along the night. This time to
display the work of Jethro Gillespie in his work titled "Glory &
Woe". Showcasing his perspective on life in an almost
autobiographical way, in different forms from profiles to collages
that focus on every emotion across the spectrum. I stepped in this
past Friday to take photos of his showing, and I also got a chance to chat with Jethro about his
art, his education, his thoughts on the scene and a few other
questions here and there.
Jethro
Gillespie
http://jethrogillespie.com/
Gavin: Hey Jethro. First off, tell us a little bit
about yourself.
Jethro: Hi. I just turned 29. I teach
art classes at Springville Jr. High in Utah County. I'm married and
we have a one-year old son. I like good music and friendly people and
bowling. I finally figured out how to spin the ball last
week.
Gavin: What first got you interested in doing art
for a living, and what were some of your inspirations?
Jethro:
I've always enjoyed making drawings and paintings. I think I started
out similar to a lot of kids, feeding off the encouragement of
others. Then when I studied in school, I really got into the
theory/history/concept side of things. I've had great teachers and
friends along the way.
Gavin: For those unfamiliar with
your work, what are you most known for in the local art
community?
Jethro: Ha. I wouldn't say that I'm very
well known. I've experimented with a lot of different techniques and
processes, but lately I would say that I'm exploring some simplified
portraits with an introspective, metaphorical focus on my perceptions
of culture, God, and the general troubles of life.
Gavin:
You studied art at BYU and got your BFA in 2006. How was the program
up there, and what were some of your experiences with it during that
time?
Jethro: You know, I think BYU has a great visual
arts program. The professors there are great. Wayne Kimball is
probably one of the most meticulous lithographers in the nation, if
not the world. (I did mostly printmaking while I was there). I felt
like there was a big 'conceptual' push developing while I was there,
as the whole program was encouraging students to be critical thinkers
and observers as well as skilled in their craft. I think the main
thing holding BYU's art scene back is the number of committed
students. My friends there were making some really great stuff, but I
think BYU just needs more of them.
Gavin: Why did you
choose to study Maroi style paintings?
Jethro: Part of
my experience at BYU included 2 field studies trips to New Zealand.
We made friends with a lot of Maori people there and became quite
close. I don't pretend to totally understand everything about their
culture, but I feel like I understand a bit of their history,
struggles, and current situation. My paintings don't include
traditional Maori imagery. I think what I got from my exchange with
my New Zealand friends was an expanded perception of the world, as
well as some more specific ideas/symbols that give a cohesive,
thematic foundation for these latest portraits.
Gavin:
You also teach art over at Springville Jr. High. How did that
opportunity come about, and how has you’re your time teaching there
been like?
Jethro: With my BFA, I also got my teaching
certificate. I got the job because the principal of the school
contacted BYU and the professors gave him my name. This is currently
my full time gig, and I really like it. You'd think being a Jr. High
teacher would just about do me in, but the kids are really great. My
room is the old cafeteria in the basement of the school, between the
dirt floor crawlspace access and the boiler room.
Gavin:
A lot of your work is oil based and focuses on profiles. What made
you decide to paint like that?
Jethro: You know, after
studying so many different styles of painting, I sometimes felt like
I had to do it all. The images for this October Gallery Stroll have
been purposely simplified. I'm not after photo-realism. I'm after the
idea. I'm not trying to paint people, I'm trying to paint the idea of
people. I think that's what Plato was talking about.
Gavin:
Do you ever feel like oil works aren’t getting the appeal they once
were, or that it’s become more for a selective audience?
Jethro:
As for painting with oil, I like what British painter Fiona
Ray says. That basically oil may be old fashioned, but so is
using TV, Video, or Installation. After something's been around for a
year or two, it becomes 'not new'. And more important than the media
you're using is what you (as the artist) bring to these artforms that
matters.
Gavin: You also do some mixed media prints.
How do you usually go about starting one?
Jethro: They
usually start as experiments. I'll do a handful, and if one or two
sticks out to me, if I think something has potential, I'll end up
doing about 8-10 for every one 'successful' one. The mixed media
prints for this show started as transfer drawings of chairs, then I
added spray paint, raw gesso and acrylic paint. Sometimes the biggest
challenge for those ones is knowing when to stop playing with it. I
hate it when one looks good, and I take it too far and end up ruining
it.
Gavin: Tell us about the “Glory & Woe”
display you’re showing for the Stroll.
Jethro: The
short answer is that "Glory & Woe" for me
represents the space I find between being a saint and a sinner. For
me a saint is someone who can deal with the woes of an imperfect
world while striving for the glorious ideals of a better one. Read
this
for a more thorough explanation.
Gavin: Where did the
idea come from to do a show at Signed & Numbered?
Jethro:
I just met Leia a few months ago though a friend, furturtle.
He does great screen print posters for bands. When I tell people that
I'm showing at Signed & Numbered, some act surprised, like "Oh!
that's the cool one." So I feel lucky to be there. Leia and her
staff are great.
Gavin: A little state-wide, what’s
your take on the local art scene, both good and bad?
Jethro:
From the little I have seen and know about, I think SLC is becoming a
stronger art scene. I think it needs to continue to grow. We need
more people that care about art. State-wide, I think we have our work
cut out for us. I love being in a (teaching) position where I get to
show 12-14 year olds some contemporary stuff that they otherwise
would not know about. It blows them away, and most of them really
like it.
Gavin: Is there anything you think could be
done to make it bigger or better?
Jethro: You know, I
think if there was more support for the arts in the public schools (I
know I'm biased), we would have stronger numbers in our art programs,
and it would become more competative, and therefore yield better
results. Most people think of art teachers as crazy, burnt out,
crafty, or all of the above. We need to change that perception. If we
had teachers that were socially conscious, producing artists, that
would help. My short answer is that the kids here in Utah secondary
schools need to be exposed to more contemporary art, in all
forms.
Gavin: What are your thoughts on Gallery Stroll
and how it’s evolved over the years?
Jethro: I think
its a great thing, I think it would succeed faster with some more
publicity. Again, exposure is the answer. I always have a good time
when I come up to it.
Gavin: What can we expect from
you the rest of the year?
Jethro: I am going to make
some more larger paintings after this show. I have a lot of ideas
that I want to try. I will also be part of the November Gallery
Stroll with Signed & Numbered -- "This Is The Place"!
Gavin:
Is there anything you’d like to plug or promote?
Jethro:
KaiserCartel, King Khan & the Shrines, The Grand Archives, Dr.
Dog, Josh Ritter, the 'Stuff You Should Know' podcast, Brian
Kershiznik, Cassandra Barney, KRCL, babies, Kurt Vonnegut novels,
frosted flakes, and the sea.