We are thrilled to present an exclusive interview with Jackson Davies, an Australian-based painter whose work delves into the profound complexities of human emotion. Best known for his evocative oil paintings, Jackson’s latest series, “Essence of Emotion,” has garnered significant attention. This collection, now available as limited edition fine art prints in our shop, captures the raw beauty of intimacy, vulnerability, and the intricate dance of light and shadow.
In this interview, Jackson opens up about his artistic journey, his creative process, and the inspiration behind “Essence of Emotion.” As a painter deeply influenced by the Old Masters, particularly Titian, Jackson’s work is a modern exploration of timeless themes, presented through a contemporary lens that resonates with today’s audience.
The Artist’s Journey: From Childhood Passion to Mastery
1. Jackson, thank you for joining us. Can you start by telling us about your journey as an artist? How did you first get into painting, and what has influenced your style over the years?
I’ve been painting since I was a child, I can’t really remember when I started exactly. But from an early age I enjoyed making things from building blocks, in the sandpit and gradually started painting. Then I did art classes outside of school and it wasn’t until my early teens that I started with oil, and It’s quite funny, now I’m realising that I never had oil painting lessons, I just started it. I’ve had a lot of influences over the years. Since I was young, I was always attracted to portraiture, I was just compelled by the challenging nature of it. Growing up, the Old Masters were a particular focus, and I couldn’t understand why others didn’t love them as much as I did. Titian is my favourite for sure, I find his use of paint to be so sensual and romantic. His paintings are just incredibly beautiful and his compositions so inventive, for me this is the absolute pinnacle of painting. But these days, I’m not chasing the Old Masters as much, I realise the folly in trying to be like other artists. Instead, I am trying to focus on self-expression and to paint what I feel and to search for freedom.
2. Your work is known for its ability to convey deep emotions through the use of oil paint. Could you walk us through your creative process? How do you go from an idea or emotion to a finished painting?
It’s quite funny, ideas just come at the most bizarre times. I mean I’m always thinking about painting ideas, but often they are fleeting. I try to record it anyway I can. If I have a sketch book handy, I’ll quickly draw it out, maybe with notes. Other times if I’m on the train or bus I’ll email myself a description – usually just dot points. I have so many of these initial ideas, then gradually I work on the ones that I keep coming back to, it’s essentially an automatic process. The ideas that are worthwhile become embedded in my brain. And often these ideas are feelings and intuitions. It’s that core feeling that I want to communicate, not necessarily a particular image. After this, I develop the idea further; I draw it out to more detail and this is when I start thinking about practical things; the light, the composition, colour and so on. Then I put it up on a wall, usually for a while because I’m terribly slow at life. And then if I’m still interested in it, I’ll start a painting. It’s quite amusing because I often find the actual painting becomes something quite different from the initial sketch which I don’t mind at all. And the painting process is where the real passion comes in. I spend a lot of time working on paintings. I love delving into them and escaping from the world. I know my brain, and I need lots of time over a long period of time to truly understand what I’m trying to paint as I process things slowly. Then finally, the painting just becomes finished, it’s pretty anticlimactic, I just end up hitting a wall and there’s nothing else to add. It’s a long process, and I work on multiple things at once. A lot of people tell me I should just leave it as it is, or work faster, but if I listened to them, I would be betraying myself and what I know to be true. There’s nothing worse than cutting a painting short because of someone else. It’s like cutting a flower that’s only half blossomed.
3. Oil paint is a medium with a lot of texture and depth. What draws you to oil painting, and how do you utilize its properties to enhance the emotional impact of your work?
Oil painting is just the best, I’m not ashamed of admitting that at all. For me it is the most versatile, sensual and expressive material for artists. I just love it. You can be happy and sad with it, it’s the perfect extension of your mind. You can do anything with it because it is so plastic and tactile. I love using the transparency of oil paint, it can really bring out the vibrancy of colour and it helps to add a lot of depth too as well as beautiful long, fluid brushwork.
4. Your paintings often combine elements of romance, humor, and melancholy. How do you decide which emotions to explore in a particular piece, and how do you balance these contrasting feelings within a single work?
Such a good question. It certainly is an intuitive process, as I mentioned above, it all starts with a feeling, and these feelings are things that I have personal experience with. I know I am drawn to contrasts and conflicting emotions in life. I think life is very strange; you need to have the dark with the light. I want to avoid sentimentality and decoration; those things do not interest me. I want paintings that have a bit of melancholy, a bit of darkness, because that’s what life is, and I don’t think it’s healthy to ignore it. But at the same time, it isn’t all sad, there’s romance, and there’s those utter moments of transcendence, of bliss and passion. It’s all wrapped up in our experiences as we try to make sense of all the madness. And too, the humour, is a way of just accepting the absurdity of it. That no matter what, life is going to happen, and, in some ways, it feels like there’s no real control. Practically though, putting all this into a painting is challenging, because it can easily swing too far one way or the other. So, I’m always trying to find a balance. And I must say, it isn’t easy and the only way I know is to let the painting develop naturally, to trial things out. It’s this process of tweaking and composing that gradually builds up to something.
5. Many of your paintings capture intimate moments. What role do personal experiences play in your art, and how do you decide which moments to translate into your work?
I’m definitely a romantic, I love intimacy, and I think it is a beautiful thing. I’m passionate and don’t like hiding my emotions. Most of my ideas draw from my personal life. I do like being inspired by my personal life, but I certainly do not want my paintings to be about me, I want to take the feelings that I have and share them with others, I want people to relate and resonate with these feelings. I want them to recognise themselves in it. All I can say is that I choose moments that are important to me, and because I work from memory, these are the most vivid feelings for me.
6. Your exploration of masculinity is a recurring theme in your work. How do you approach this subject, and what are you hoping to communicate about masculinity through your paintings?
This is very difficult for me to articulate because I’m still trying to figure out men. I know that I am compelled by masculinity, obviously I am attracted to the male form. I mean, men are just so beautiful, it is insane. But it’s more their behaviour and emotional side that I find so intriguing. I love exploring intimacy between two men, their vulnerability and passion. The initial moment when they let their guard down and their passions are embraced. But I also like exploring other aspects too, masculine anger, when men fight, when one submits and the other dominates. Then there’s the broader bro culture I just find so bizarre. The performative, theatrical aspects of bro culture, the way they walk, dress, hug each other, their platonic love for each other and all the strange things they do as a group. But yes, honestly, I think about all these things, and I still have no idea about masculinity, it’s an enigma, and I don’t really know where I fit into all of this, but I enjoy it.
7. The texture and layering in your paintings are very distinctive. Could you explain how you achieve these effects and what they signify in the context of your work?
Yes, I’m totally into layering with oil painting. I can’t really do it any other way. The best thing about layering is it gives you freedom to develop an image over several stages. There’s no pressure to get a composition perfect from the start. It allows you to develop as you paint, which is how I enjoy painting. I can’t compose a finished image then paint it. If I do that, I lose interest in painting. For me I like the unknown and the challenge of trying to bring out an idea as I’m painting. To start I dilute paint with lots of solvent, so it is very thin. I then map out the initial design or sketch that I have. Then afterwards I try to develop it a bit more, add large areas of colour and tone. I’m trying to figure out if there’s balance, if the image looks interesting. I often use earth colours when I’m doing this. They dry quickly which means you can pretty much come back the next day and do another layer. Once I’m more confident with the composition I start to put down more vibrant colours and glazes. Then it’s about a process of refinement.
8. How do you stay inspired and motivated in your artistic practice? Are there any particular rituals or routines you follow when you’re working on a new piece?
Motivation is funny, it certainly requires nurturing I find. Honestly, there have been some very dark days, I can struggle with it. Especially, I find that comparison, financial worries, self-criticism to be absolute killers of motivation. What I find helps is to be consistent with the practice, a little bit every day is preferable than a big session a couple of days a week. The other thing I find that helps is to not “think” during the process. Too much analysing and criticism during the process just causes me to stall. Instead, I say “fuck it” just go for it, search for the flow, for the feeling of freedom. Music is also very inspiring, there’s something about the flow and emotional aspects of music which partner with the act of painting perfectly. I’ve gotten into the habit of creating playlists for each painting now.
9. Your studio in Sydney has been the birthplace of many of your works. How does your studio environment influence your creative process, and do you feel that the city itself impacts your art?
My studio is at my home, and I really like it that way. I don’t like distractions, and I find it pretty much impossible to focus if there is noise, and I don’t like painting with other people. So, my studio is very much a cosy space, and a space that I don’t need to clear up either. I’m from Sydney, but I do find it a challenging place to live in. The natural beauty is always gorgeous, but the city can be a dry, superficial, and cutthroat place. It isn’t particularly romantic or artistic, so it does require a bit more effort to find inspiration here.
10. Looking at your body of work as a whole, how do you see your art evolving in the future? Are there any new themes, techniques, or ideas that you’re excited to explore?
There’s so much I want to do; the trouble is just finding the time and being patient with the process. I know that the body of work will pretty much keep focusing on the male form. But I want to refine my compositions, and really develop my narrative skills. And as always just to become more proficient at the craft and to become more expressive with the painting technique. Really, I just want to maintain the rhythm and to let things develop further. I don’t want to stop.
The Essence of Emotion: A Window into the Artist’s Soul
“Essence of Emotion” is a deeply personal series that draws heavily from Jackson’s own experiences and memories. Through his art, he seeks to connect with viewers on an intimate level, inviting them to see themselves in his work. The series is a celebration of vulnerability and the shared human experience, captured in moments of tenderness, passion, and introspection.
Bringing the Art Home: Limited Edition Prints Now Available
We are proud to offer fine art prints of Jackson Davies’ “Essence of Emotion” series as a limited edition collection. Each print is a faithful reproduction of the original oil paintings, allowing art lovers to bring a piece of Jackson’s emotional landscape into their own homes. With their rich textures and profound emotional depth, these prints are more than just decorations—they are an invitation to reflect on the complexities of the human experience.
Don’t miss the opportunity to own a piece of Jackson Davies’ stunning work. Explore the “Essence of Emotion” collection in our shop today and add a touch of timeless beauty to your space.
