We first saw the work of Canadian artist, France Jodoin, at the Shain Gallery just before the New Year, and from the moment I first saw her work up close I knew I wanted to know more about France’s inspiration and artistic process. In this interview, you’ll learn through France’s own words how her life as an artist began and what she considers to be the greatest achievement of her career thus far.
When did you first become interested in art?
I have always been interested in art. I was a professional translator for many years before I became an artist, but it was never something that brought me a deep sense of satisfaction, nor did I ever feel I was in the right place and doing the right thing.
There was no decisive moment in my life that led me on the path to becoming an artist. Certainly, a flame was lit when I signed up for a live model art class given by my sister in Montreal. However, I never thought for a moment I would take it any further than that. I do recall that at the end of that three-hour class, I seemingly had not taken a breath. I was mesmerized by that feeling. What was it? What happened in those three hours that made me completely forget the translation work on my desk and the deadlines I had to meet? I ended up taking this class with mixed media for three years. During that period, I translated less and less and painted more and more. Finally, I abandoned translation and dedicated all my time to studio work.
You attended the Ottawa School of Art and the Saidye Bronfman Centre in Montreal. Was there a particular professor who had an impact on the beginning of your career as an artist?
Definitely my sister Sophie. She is also an artist and was giving classes at the Saidye Bronfman Centre in Montreal. She called me one late August night and told me I should come and take her class, just to change my mind. Did it ever!!!!! The rest is history. She was and still is an incredible teacher for one important reason: she respects the unique qualities and perspectives of each and every student in her class. She let me be who I was then and still am, a gestural and intuitive painter. She guided and encouraged me to show my work in public venues in Montreal until I was approached by the first gallery to sell my work. Her loving and supportive advice was invaluable. I can honestly say that she changed my life.
When creating new work, you don’t focus on recreating a particular scene or location. What could you say is your greatest source of inspiration?
The sea. There is water in basically all my paintings, whether I paint a cityscape or flowers. The strangest thing is that I am petrified of water! You will never see me diving in a pool or a lake, never mind the ocean! I can sit and contemplate the movement of waves for hours. Every year, I plan a trip to spend time by the ocean. It is a visceral need.
While you work primarily with oil, you also sketch and create prints using aquatint and sugar lift techniques. What do you enjoy the most about transitioning from working with oil on canvas and printmaking?
The unexpected. With brushes, I know that if I mix this color and that color, the end result will be such. I am an intuitive and gestural painter. I do not plan much ahead. The painting develops as I go, right under my eyes. I can paint over, scrape off an area, add a last-minute detail.
Printmaking is an art form with a million rules. There are steps to follow and in a very specific order, times to respect, and the printing itself is incredibly tricky and touchy.
When I engrave a copper plate, I hardly see what I am doing. Then it goes in the acid bin and miracles happen!!!! Every time I lift the paper from the press, I witness the unexpected.
My best oil paintings are those where happy accidents created the unexpected.
You paint with oils on canvas and oils on linen. Which one do you prefer?
I paint exclusively on linen now, which comes in big rolls I order from Belgium. I prep my canvases with rabbit skin glue as the old masters used to. It hardens the surface of the canvas like a drum and linen is the perfect fabric. I could never go back to cotton.
Tell me about a typical day in the studio.
There are two parts to my day. In the morning, I take care of the administrative side of my practice: ordering supplies, paying invoices, organizing shipping and customs paperwork. I also stretch and rabbit skin glue canvasses when new stretchers are delivered. In the morning I also look through art books for images or search the Internet for old photos from the Victorian era that will inspire my afternoon studio work.
With the administrative work out of the way in the morning, I break for lunch and then am ready to go into the studio by about 1:00 p.m. I work straight on to around 6 or even later if things are going really well! I never leave the studio if I feel frustrated, discouraged, moody about the work. I will take the time to find one positive thing before I close the studio door for the day.
The titles of your pieces are lines of poetry. Do you start the painting with a line of poetry in mind, or decide after the piece has been completed?
I choose my titles after the paintings are done. I sit in my chair and open all my poetry books on the floor, placed between the paintings and myself. I pick up an anthology, for example, and choose a page at random. Perhaps a line or a word will catch my eye. Then I look at each of the finished paintings to find which one would be a good partner. I use parts of sentences, sometimes collage sentences taken from different poems. My intention is never to find a title that matches the work, just like my paintings do not represent a specific scene or location. I leave it up to the viewer to find his or her own interpretation, with or without my titles.
Is there a particular poet that you are inspired by or do your lines of poetry come from various poets?
I would say that my two favorite poets are T. S. Elliott and Emily Dickinson. But the poetry I use to title my works covers the 18th, 19th century, and 20th centuries. I found two old editions of the Norton Anthology of English Literature in a secondhand bookstore; they have proven to be a good buy and have provided me with great references for titling over the past 17 years!
You did an artist residency at Shankill Castle in Ireland last year. What did you enjoy the most about this experience and how did it inspire you as an artist?
This was my third artist residency abroad. The castle had no ocean view! For the previous residencies, I had accommodations just a stone’s throw from the sea. Because water is a prominent element in my work, I had always chosen residencies with that in mind. So, I was utterly surprised to find so much inspiration on the mainland! My longtime friend Shawn and I would go touring the area and would see ruins and castles that inspire a whole new series of works on paper.
What do you enjoy the most about preparing for a solo exhibition?
Over the many months of preparation it takes to mount a solo exhibition, I see the studio filling up with canvasses. I love to see the works develop a conversation with each other. In other words, my eyes must go around the studio and leave me with the impression that I am turning the pages of a book. I love to see a narrative developing in my head. I never have a preconceived idea of what the exhibition will look like — again, this speaks to my love for the unexpected. I paint like a builder stacks one block on top of the other. Each painting supports the previous one and the next to form what becomes a storyboard.
What do you consider the greatest achievement of your career so far?
Two things. First, the fact that I have never had to send a portfolio to any of the galleries that represent my work today. Each of them has called or emailed to say they would love to represent me.
But what pleases me more than anything else is that after 17 years of practice, I still go to my studio every day with the same love, passion, and joy for the work I do. I can honestly say that I never had the white canvas mental block.
We loved seeing all your pieces at the Shain Gallery. As a newer artist at the Shain, what do you enjoy most about interacting with Sybil and the team?
Their enthusiasm for my work and their excitement about having me on board. I believe that the number one ingredient for a successful relationship is the love for the work a gallery decides to represent.
Website: francejodoin.ca
* All photos in this post were provided by France Jodoin.
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