Studio Visit: Jeffrey Jay Jarin

Jeffrey Jay Jarin is an artist living and working in the Philippines. His work can be seen in PLEAT's June 2017 exhibition. 

Please describe your work.
My works just simply represent moments that happen in my everyday life that can be also relevant to some other person's. Visually, I like using plants as one of my main subjects because of their irony; we label them as space-fillers only but as we progress we develop the understanding that plants represent an importance that is beneficial & essential in our lives. I also have these elements that I call “integral organisms” which are representatives of curiosity & understanding that resonates people in a way like how we try to adapt & discover our surroundings on a deeper level. 

As for my media, I always find myself fondly attached with acrylic paint over any kind of paints because I find it more effective in making graphic and vector like works, also fits my lifestyle. 

What internal and external factors motivate your conceptual choices?
With our busy modern lives, we tend to pass up the time to actually taking in and relating with our surroundings. We often ignore the small details that sum up our existence, we give up chances to get to know ourselves a little more because we consume our days concentrating too much on what’s ahead—that’s why the underestimated things we tend to ignore fascinate me artistically because, in a way I kind of give them a chance to be told, credited & understood by people who don’t dedicate much of their time, appreciating the now.

Who are your artistic influences and what have you learned from them?
When I was still finishing my degree, I have this professor who is also an artist named Eugene Jarque, that encouraged us to find ourselves and our point of view within our artworks. He is one of my greatest mentors because he shaped me into the artist I am today. I am deeply fond of his subject matter and the way he chooses the materials he uses for his works. I am also passionate about my fellow artist friends and the Philippine art scene itself because nowadays the voice of the artists here are more heard, we have stronger point of views, and very intricate processes that can intrigue you in so many ways.

How was social media affected your studio practice?
Frankly, it has been consuming my time a little more. In some way, I feel overwhelmed by the accessibility of social media because I always stumble upon other artists, and other contents that eventually give me doubts and confusion on however I plan to do my next step as an artist. On the other hand though, it is nice to discover that most of the people in the world of social media have become more aware and mature of their spaces and surroundings. It’s also a good thing that local artists like me have this platform full of possibilities that gives me the chance to actually get my messages out there through my works. However, I’m a little afraid that going to actual art exhibitions maybe lessen and the chance to actually see artworks up close and meeting the artist behind and connecting them may be passed up because of complacency.

Studio Visit: Lisa Denyer

Lisa Denyer is an artist living and working in Berlin.  Her work can be seen in PLEAT’s June 2017 exhibition as well as

Please describe your work. 
My practice looks at themes of transience, impermanence, and the transportive potential of paint. The forms and colours in the work manifest from abstracted everyday observations. Ideas around containment, modernity and escapism are referenced in ongoing explorations of semiotics, digital aesthetics, and framing devices.
The supports are often handmade using wood, hardboard or plywood. I enjoy working with these materials for their textual qualities and their ability to withstand multiple layers of paint. The handling of paint and the interaction between the medium and raw surface is a primary consideration. Collage is also an important aspect of my work.
What internal and external factors motivate your conceptual choices? 
I’m really interested in the contrast between the slow, considered process of painting and the sensory overload of daily life (especially living in a city), and how contemporary painting deals with those polarities.
My recent work investigates the physical, visceral nature of paint and support, juxtaposed with the influence of digital aesthetics which infiltrates the work from the screens we see around us. It relates to the body, the physical world including the built environment vs the virtual, and the relationship we have with different kinds of spaces.

Who are your artistic influences and what have you learned from them? 
I get a lot out of having a dialogue with other painters, and often end up taking a particular direction because of a comment or idea which resonates with me.
Looking at Philip Guston’s work always makes me want to paint. I really admire the authenticity and passion which comes across in the work and in how he spoke about painting. 
I think that Adolph Gottlieb has a lot to do with my current direction as his work really got me thinking about the meanings of signs and symbols and the innate connections and associations we feel towards certain shapes or colours. I’m interested in how that can be applied to contemporary branding, logos etc.
How has social media affected your studio practice?
It’s become such a big part of the routine of artists working today. It’s great to be able to interact with my peers and to see so much good work on a daily basis. I get a sense that more and more galleries and collectors are using social media platforms such as Instagram to discover work. I do worry that it can be a bit throwaway though. 
Visually, I think we're really influenced by what we see on the screen, and I think it alters our ideas of how composition can be approached - for example the floating rectangles of visual information, and layering that you can see referenced in a lot of recent painting. For me, the rectangle continues to be a key motif, along with ideas of containment, and expanding and breaking out.