Loredana speaks to Jarik Jongman ahead of his mystifying solo exhibition at WW Gallery.
Derelict houses, abandoned factories, mysterious motel rooms, eerie woods and old photographs: Jarik Jongman's paintings evoke a lost era with a dark sci-fi edge. A distinctive deep orange glow, floating orbs and space age lights populate his images – almost a new version of Steam Punk, just without the machines and with a lot more heart. I spoke to him about his inviting yet cryptic paintings and the inspiration he finds in old photographs and images found in flea markets.
What are you trying to express through your paintings?
Some of the work in this current show pose questions about the transience of existence, about our position in the world. But in general, I don’t set out to express anything particular as that might limit the work’s potential. Often the painting becomes something by itself. Everybody perceives things filtered through their own emotions and intellect anyway and that’s fine. I don’t believe in one meaning or correct interpretation.
There does seem to be something magical about your work...
I think I’m more interested in the metaphysical, or the magical if you will, because it hints at the secrets of this universe. The realm of possibilities that defy our everyday experiences. Besides, if you look at the world at a quantum level, this magic is already a puzzling reality.
Do you ever have a story or narrative in mind?
Not often. And when I do, I try to let go of it for fear of making illustrations to a story.
What is it about a certain photograph that catches your attention enough to want to paint it?
If I knew that precisely, my work would become formulaic. Certain images just have this quality or they happen to fit an idea I’m developing, but in general I don’t like to analyse this process at all. Leaving things to the subconscious works best for me
Do you ever wonder about the people or places in your paintings? Or do you use them for purely aesthetic reasons?
Once they are painted they become something else. But I do occasionally ponder on the plight of the people whose old photographs I’ve bought in a flea market for example. And there’s something both perverse and oddly comforting about possessing other people’s personal histories.
Do you ever include anyone or anything personal to you?
I don’t see how you could be an artist and not include anything personal.
Your style is very distinctive. How did you develop it?
I wasn’t aware that it is. So how it has developed so far is due to dissatisfaction with previous work.
What is it about motel rooms that you find interesting?
They’re like a miniature world or a private theatre where all human activity takes place: eating, sleeping, sex, violence, drugs and business, all happening within the same walls. Likewise, it’s an allegory of our existence, as individuals and as a species, on earth. We check in, stay a while, and check out: that’s it.
How do you see your work developing in the future?
It needs constant improving on every level. Like human beings.
Hello, Goodbye is being shown at WW Gallery from the 2nd of October to the 7th of November 2010.
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