We recently connected with Justin Brooks and have shared our conversation below.
Justin, looking forward to hearing all of your stories today. Learning the craft is often a unique journey from every creative – we’d love to hear about your journey and if knowing what you know now, you would have done anything differently to speed up the learning process.
My voyage into the world of painting and learning the craft traces its origins back to my childhood in rural Upstate New York. The landscape was characterized by vast expanses of nature, dotted with farmland, barns, and cornfields. As a child, I was pretty geographically isolated, with only a couple of neighbors within a four-mile radius. Being left alone with my imagination due to the absence of external stimuli eventually led me to picking up a pencil and starting to draw. In a way, drawing became my window to the world, as well as a way to entertain myself and pass the time.
Nature became the focus of my artistic endeavors. I developed an almost obsessive passion for drafting overhead, three-quarter perspective views of the farmland that surrounded me. I would change the arrangement of barns, the layout of cornfields, the placement of cow pastures, and even the location of giant bales of hay and swing sets. It was like I was playing the role of a landscape designer or architect, obsessively organizing and reorganizing the scenery in my mind’s eye.
Throughout my childhood and adolescence drawing grew from being a mere form of entertainment into somewhat of a support mechanism in life. Growing up with young parents who were still figuring things out for themselves introduced a decent amount of chaos in my upbringing. In uncertain times I relished the opportunity to escape into images and worlds of my making where I exercised total control of its direction. Every line, mark and value were there because I decided it would be. My drawings became obsessive, I wanted everything to be perfect, structured. I could spend hours and days working on the smallest sections of a sheet of paper. Thinking back now, this is where the seeds were planted for what would ultimately become my current methods and narratives for my paintings. Overall I’m grateful for it because such methods required years of practice and research, and instilled in me an intense work ethic and artistic rigor.
Painting came into the picture during my high school years. I attended art classes and transitioned from drawing to acrylic painting. However, it was during my senior year that I made a pivotal decision. I resolved to enroll in the school of architecture at Pratt Institute, viewing it as a pragmatic career choice that allowed for creativity within a structured framework.
Soon after starting the architecture program, I found myself struggling with the curriculum. It became clear that the architectural path was not aligned with my true calling, to say the least. Recognizing this, I approached my academic advisors and was fortunate enough to switch my major to painting, marking the beginning of my formal journey into the world of art.
My initial encounters with oil painting courses were nothing short of underwhelming. The concepts of value, color theory, and pictorial perspective eluded me. I wasn’t good at all! I often found myself in a muddle, with colors ranging from oversaturated to dull gray, unable to yet grasp a fundamental understanding of the medium. My difficulties extended to live model painting sessions, where I struggled to capture the essence of my subjects. This period marked a return to the discomfort of disorder, a feeling I had grown averse to and hated with a passion. My inner peace had always been intertwined with my ability to anchor myself into whatever I was putting down onto the two-dimensional surface in front of me, and oil paint had just thrown a wrench into my gears. Refusing to give up my way of life and stubborn in my decision to pursue a career as a professional painter, I resolved to take whatever action necessary to figure this out.
My pursuit of artistic knowledge was propelled by a passion to understand the methods of the Old Masters. Caravaggio, Da Vinci, Van Eyck, everything they painted to me looked magical and formally idyllic, demonstrating perfect control over their domains. I initially thought that was what I would gain at Pratt. Naive I was. With the exception of a couple instructors Pratt’s painting department at the time was dominated by mostly conceptual artists, and while amazing people that I’m proud to know to this day, offered limited technical guidance. Therefore, I often found myself poring over art books and making frequent visits to the Metropolitan Museum of Art and the Frick Collection. My mission was to dissect the works of the Old Masters and attempt to replicate their techniques in my paintings. I was determined to solve the intricate puzzle of how these artists achieved their masterpieces.
Following my undergraduate studies, I embarked on a seven-year journey of painting while working part-time as an art handler. My evenings and nights were dedicated to throwing artistic ideas against the wall to see what stuck and what didn’t. While I did experience a lot of breakthroughs in the quality of my work, I felt that there might be better and more efficient ways of going about what I was trying to achieve. The pivotal turning point came when I was introduced to the painting program at the New York Academy of Art. From 2017 to 2019, the academy provided me with a profound illumination of my artistic shortcomings and opportunities for growth. Under the guidance of renowned (and patient) representational painters, I gained a deep understanding of the physical characteristics of different oil paints, the significance of white pigment in illustrating volume, the versatile utility of various oil and resin mediums, and the art of constructing a painting from the inside out, rather than attempting to simply match what my eyes saw with a brush. I was visually instructed in the proper use of warm and cool colors, as well as light values, to achieve illusionistic properties in my paintings. The artistic community fostered at the Academy as a source of inspiration, coupled with the freedom to dedicate myself wholly to my craft for two consecutive years allowed me to grasp what I had relentlessly sought: a tactile command of oil paint and a structured, systematic approach to creating work that could bring to life any image conjured from my imagination. I was beginning to see the light at the end of the tunnel. Though it took a few years after my time at the Academy to fully comprehend and integrate the wealth of knowledge I had acquired, I now find that turning a blank canvas into a vibrant painting has evolved from a daunting challenge into a methodology that serves as my guide as I begin each new piece, wandering into uncharted territory. Following graduation, I secured my own painting studio and threw myself into the creation of new works. My days were filled with planning and executing paintings, continuously challenging myself to explore new horizons.
However, as life would have it, the COVID-19 pandemic descended upon us, leading to a two-year lockdown. During this time, I found myself, once again, entirely free to spend every day in my studio, painting, pushing my abilities and exploring the ideas that make up my craft. Once the lockdown restrictions were eased, I began exhibiting my paintings at Stone Sparrow NYC in Manhattan, where I continue to share my vision and ideas with the public.
Continually gaining fresh insights with each day I devote to my studio, I find myself in a constant state of discovery. This extends not only to a deeper understanding of myself but also to the intricate relationship that exists between me and the art I create. Moreover, I’m consistently enhancing my technical skills. As I look ahead, I’m filled with enthusiasm for the boundless possibilities the future has in store.
If I could have done anything differently, I wouldn’t have done it. I’m content with how my experiences have shaped me and provided me with the unique insights to life that I can share with people. Cliche answer, but isn’t that because it’s true for everyone?
Justin, 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?
My artistic odyssey is a complex web of inspiration, intertwining classical elements from the likes of Old Masters such as Jan Van Eyck, Johannes Vermeer, and the Northern Renaissance painters with the meticulous craftsmanship of French academic oil painters like Jean-Auguste-Dominique Ingres. Additionally, I draw inspiration from living artists such as Christian Rex Van Minnen, Glenn Brown, Nicola Verlato, Benjamin Spiers, and John Currin, who’ve become known for their creative processes and contemporary Surrealist spin on oil painting that utilize art history as the foundation for both subject and narrative. I also find unconventional wellsprings of creativity in the world of horror movies, music album artwork, self help books and experimental fiction novels.
Functioning as a mirror to the human condition, I seek to transcend visual aesthetics with my work. Drawing from my own experiences, I delve into the human psyche, exploring emotions, traumas, vulnerabilities, and the myriad of ways individuals navigate/attempt to escape to or from their inner worlds. Through my work, I strive to evoke emotions, provoke introspection, and capture facets of the human experience as viewed through a combination of modern society and my mind’s eye.
Throughout the years as an artist, I’ve discovered that my subjects and themes evolve in parallel with my personal growth. It’s a fascinating journey of self-discovery, marked by the realization that many aspects of life lie beyond our control. As a means of reconciliation with this understanding, my artwork has evolved to include elements of technology, medicine, self-medication and spirituality, tools often used as coping mechanisms in the absence of self-empowerment, tropes harnessed by the population to make sense of and structure their lives. These elements seamlessly weave through my images, serving as potent tools to grapple with the intricate interplay between the human experience and the unfathomable forces that shape our existence. My work is a harmonious blend of the ethereal and the tangible, a quest to find peace within the enigmatic aspects of our reality that often elude our grasp.
My progression into the art industry took a significant step as I neared the end of my studies at Pratt Institute. An internship opportunity at Last Rites Gallery, situated in the heart of Manhattan, introduced me to the vibrant world of contemporary art. Specializing in exhibiting surrealist painters, I cut my teeth in learning about both the inner workings of a contemporary art gallery as well as how an artist should navigate through their profession. It was at Last Rites that I built lasting friendships within this community’s corner of the art world, and by the close of 2019, I began showcasing my own paintings, marking a significant milestone in my artistic career.
For you, what’s the most rewarding aspect of being a creative?
The most rewarding aspects of being a creative for me are an intricate tapestry of self-discovery and human connection. As an artist, my work is not just a reflection of the world around me but also a profound journey into self-exploration. Unapologetically, it reveals both the conscious and subconscious facets of my mind laid bare on a two-dimensional canvas. The act of painting, akin to keeping a journal, transforms innermost thoughts into tangible visual narratives. It’s a form of catharsis really, where emotions are brought to the surface involuntarily. With every stroke of the brush, I unearth hidden layers of my own story, making me acutely aware of the environments I’ve inhabited, the experiences I’ve had, and the values I hold. This personal growth is interwoven with the very fabric of my artistic expression, creating a visual bulletin of my evolution.
Another profoundly satisfying facet of being an artist is the impact on others. Creative work has a unique ability to inspire, move, and connect with people on a deep emotional level. The knowledge that your work can touch someone’s life in a meaningful way is a source of immense fulfillment. It’s a privilege to communicate ideas visually, as images carry instantaneous cognitive associations, almost like a form of telepathy. No words needed. However, it’s not just the image itself that conveys meaning; it’s the language of the artist’s hand. The tactile connection between the artist and the canvas creates a unique dialogue, adding depth and richness to the connection between the viewer and the artwork/artist.
The journey of creativity is one of continuous learning. It’s a lifelong quest where there’s always something new to explore, be it a fresh technique, an uncharted medium, or a novel concept. My studio is my sanctuary of learning, with the air filled with podcasts, YouTube videos, and discussions spanning a wide range of topics, from art and science to philosophy and pop culture. Books, particularly artist monographs, become my companions, expanding my knowledge and allowing me to articulate and generate new ideas. This thirst for learning is not only enjoyable but equips me with the intellectual ammunition to fortify and evolve my creative concepts.
Beyond the practice itself, the artistic community forms another rewarding dimension of being a creative. It’s a global network of kindred spirits who share the calling to compulsively create. Regardless of the geographical distance, the thread of art unites us, and spending time with fellow artists is a cherished experience. These are individuals who intimately understand the trials and triumphs of this lifestyle, forging life-long connections that transcend borders and cultures, exchanging ideas and experiences unique to the individual. It’s in this way that we all move forward together, and aside from when I’m painting it’s when I’m the most at ease.
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?
There’s a facet of being an artist that might be challenging for non-creatives to fully grasp, and that’s the immense sacrifice of time it entails. This is not something to be underestimated. In my life, daily scheduling has become a strategic game in which I meticulously plan every minute to maximize the hours I can spend in my studio. Creating paintings, particularly the intricate work I specialize in, demands a substantial amount of time. A single painting can easily consume over 100 hours of labor, and that’s without factoring in the time spent on conceptualizing a piece and handling administrative duties.
This dedication to my craft often means that I forgo activities that others may consider leisurely, like a day at the beach or a relaxing time at the park. While I may occasionally partake in extracurricular activities, they are typically brief, and I always feel the magnetic pull to return to my work. This intense focus on my art has, at times, put strains on my personal relationships, as it can be difficult to strike a balance between my artistic pursuits and my personal life. It’s comforting to know that this struggle is not unique to me; many professional artists face similar challenges in finding a healthy work-life equilibrium. Art isn’t just something we do, it’s who we are. For me, being away from the studio is like being a fish out of water; I’m holding my breath until I can get back in there! As mentioned earlier, art is my anchor, my rock, I’m not myself without it.
Balancing the demands of being an artist with maintaining a fulfilling personal life is an ongoing journey. It’s a perplexing dance that often requires meticulous time management and conscious effort. While my commitment to art is ironclad, striking the right balance is probably one of the more significant challenges I face in my day to day life, maybe even more so than making the art itself! It’s a constant endeavor to find harmony between the gravitational pull of the studio and the need for personal connections and leisure. Everything’s going to be ok, one day I’ll touch grass again.
Contact Info:
- Website: www.artofjustinbrooks.com
- Instagram: @artofjustinbrooks
- Facebook: facebook.com/artofjustinbrooks
- Other: For inquiries about available work, prints or commissions, please email: artofjustinbrooks@gmail.com
Image Credits
Michael J. Spear