We were lucky to catch up with Jon Murrill recently and have shared our conversation below.
Jon, appreciate you joining us today. Can you talk to us about how you learned to do what you do?
As a muralist I am often asked how I scale artwork onto such a large surface. Studio work is one thing, but painting on a multi story building is an entirely different challenge. I always answer that I have been blessed to learn from a variety of world renown artists over the past few years. However, I also answer that failure has been my greatest teacher. As a former high school educator I always challenged my students to take risks. When I was first approached 5 years ago to create a mural I took my own advice. Over the first few years there were some serious growing pains and remaining uncomfortable constantly challenged me to be looking for greater efficiency in my process. I had reached a point were my growth needed outside enrichment. Surprisingly the opportunity to learn came to my doorstep.
Artists James Bullough and Onur Dinc were commissioned to paint a wall in my hometown of Roanoke, Virginia. Hearing they had traveled from Berlin, I jumped at the opportunity to observe and assist them in their project. This experience allowed me to work alongside two international artists and gain an understanding of different ways and visions for painting a professional mural. Shortly after I was then blessed with another opportunity. Brazilian artist, Thiago Valdi, was awarded a short residency to paint in my city. After contacting his camp we structured time to paint alongside each other and collaborate on a mural of our own. By opening myself up to each of these opportunities I was completely humbled and inspired to dive deeper into my own process. By witnessing three international artists, each with very different approaches, I was given the gift of understanding. To learn any craft you must open yourself up to a larger world as you mature. My world in public art is still constantly expanding and I hope my process remains somewhat uncomfortable as long as I am a muralist to open pathways for growth such as these.
Jon, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?
I am a full time muralist based in Virginia. My career has developed out of my passion for creating artwork and educating others about exploring that power of creation for themselves. As an educator for ten years I had the opportunity to work alongside an eclectic mix of youth and adults. This experience led me to desire a greater interactive quality within my own artistic practice. Transitioning from studio artwork to public did just that. I gradually began to explore more and more mural work outside of my full time job for five years before officially committing to becoming a full time muralist. As I have gained experience I have always relied on a few consistent goals. One, the finished product must never be devalued. Two, the creation of a mural will always be greater and more widespread than my own personal experience. Three, once I complete a mural it is then no longer mine. By reflecting on these core values within my practice I am able to ground myself when designing for murals, painting on walls or connecting with communities. I am adamant about structuring “community painting sessions” a few times a year in which community members can work alongside myself and learn about creating murals. I am also aware that the more pieces of public art I create the more responsibility I have been given to shape the visual experience of a community. This means that while I do pursue my own creative devices within designing, I also must consider who the mural is for and who interacts with it daily. Public art is unique in that you open yourself up to everyone’s opinion through the process. I celebrate this aspect of the industry and allow it to drive me to work with a wider range of clients, themes, and genres each year. My hope is that those who see my work can connect it in a variety of ways to the communities and locations I paint.
Do you think there is something that non-creatives might struggle to understand about your journey as a creative? Maybe you can shed some light?
In the public art industry you are regularly in the spotlight. This means interacting with creatives and non-creatives alike. In many circumstances I work more closely with non-creatives in my day to day. Business owners, contractors, public servants are all close associates within the mural world. As a creative I have adapted my own practice to first understand that not everyone is an immediate activist for the arts. However, while someone may not consider themself an artist they may not know how connected they are or can become to appreciating visual art in its many forms. I approach my own public art business as a contractor in many ways. By understanding the wide range of products that can be used, how each surface differs and must be treated prior to a project, and any local regulations I am able to gain the trust of each client. In the contracting world trust can not be over valued. This also extends to non-creatives exploring public art. By taking the time to hear their own vision for a space I am opening them up to working in a more creative mindset and also encouraging myself to dive into design territory I may not have considered. These conversations can be major beneficiary of working relationship and build bridges to work with a wider range of clients in the art industry.
What’s a lesson you had to unlearn and what’s the backstory?
I have had to unlearn the lesson “jack of all trades, master of none.” In the mural industry many artists find a style too early. It can be an exciting time when your body of work seems to flow in an independent series or seems directly interconnected. However, in my experience, if you put yourself into one box you close the plethora of opportunities that might still be awaiting. This past year I have created the beginning of a new personal series of murals titled: “Lady Appalachia.” This body of work represents women from the region of Appalachia and their unique connection to the land of the Blue Ridge Mountains. While I am incredibly excited about pushing this series further I am also aware that this must remain a sub-category of my work. I have learned that some of the projects that challenge me to do something entirely new are the one’s I grow from the most. Learning and adapting your process in public art can be a beautiful thing. While there are many more talented muralists in the world than myself, I pride myself on being open to exploring new territory rather than remaining with one specific style. This may change with age and experience; however, I hope that I am always open to exploring projects and styles I am uncomfortable with for the sake of growth.
Contact Info:
- Website: https://Www.murrillart.com
- Instagram: @jonmdraws
- Facebook: Jonathan Murrill
