An exploration of nature is intrinsic to Jill’s painting practice. Her paintings range from small observational landscape studies to large composite works that play with space and mathematics. Jill is best known for her extraordinary understanding and handling of color. A vision of pyramidal fractals provided Jill a measure to articulate time and space in her work. Subsequently, land and water fell away as her focus turned toward the heavens. On a visit to a scrap yard Jill found an eight-foot by three-foot piece of copper. This proved perfect for expressing the deep space and time of the Carina Nebula. Employing the Fibonacci sequence, she transformed a Hubble Space telescope image into what many consider to be an abstract painting, ‘Phi’, now a part of the Vatican Museum’s permanent art collection.
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. She is an adjunct professor of art at the University of New Haven and conducts international painting workshops. Her next Italy Workshop is scheduled for July 2021. In March 2020, Jill received a grant from the Connecticut Office of the Arts to develop and migrate her teaching of painting to an online format. Jill now offers videos on YouTube and holds real-time 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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