I am grateful to have had several shining moments during these challenging times to share with you; Two of my artworks, “Phi” and “Juno” were installed in the Vatican Observatory; my painting of Washington D.C. appeared as a backdrop for James Comey’s interview on “Face the Nation”; my “Grand Canyon” painting made its appearance on Showtime’s “Comey’s Rule”; and my painting, “Weir Farm Summer’s Day” received an award from the U.S. Department of the Interior, National Park Service.
Heart, soul, science, beauty and an exploration of nature are intrinsic to Jill’s work. Her paintings range from small observational studies to large composite works that play with space and mathematics. Jill is best known for her extraordinary understanding and handling of color.
Jill’s sense of color and composition was developed over the course of 30+ years as a commercial artist. She earned her undergraduate degree at the University of Colorado, Boulder. In 2000, she set her focus to painting, at first training at the Art Students League in NYC and in 2015 earning her MFA in painting at Western Connecticut State University.
She is represented in several prominent collections, including the Vatican Observatory Museum, University of Connecticut Health Center, Yale Medical Center, and former FBI Director James Comey.
Jill is an adjunct professor of art at the University of New Haven and conducts international painting workshops. Her next Italy Workshop is scheduled for September 2021. Jill now offers videos on YouTube and holds real-time online painting critiques.
My painting is poetry, a lyrical composition of color and light infused with a profound reverence for nature. When I am painting, I am in the moment, thoroughly present and enraptured. I experience a sense of peace, as well as an urgency to capture and share the moment.
It is a privilege to paint. Rendering the abstraction in life; finding order in chaos, form from ambiguity. Working through the melancholy of impermanence, skirting the shadows and embracing a particular time and place set along the infinite in a slip knot; enveloping the invisible birdsong, grasping a flint of light reflected off the water, and enfolding the luminous cloud as it undulates through a harmony of color, often gone before the brush even touches paint. Inadvertently documenting the vanishing. All the while sensing glimpses of truth only revealed to the soul. Echoes reverberating from the surface of the canvas like a sonar in search of its return signal.
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