“As a landscape painter I am caught up in the moment but that is constantly changing. One of my great challenges is coping with this reality of change. I chase the impression. As soon as I set up everything has changed, as soon as I lift my brush the moment has passed. In reality I am always painting from memory, working with backstory. I have resigned myself to this fact. These fragile fragments and impressions themselves are changed by the act of trying to represent them in paint. I have very distinct moments that are constantly asserting themselves in my work. It is not so much an exact place or time that I am trying to evoke but my story about that moment.”
Excepted from Northern Woodlands “Outdoor Pallette” by Adelaide Tyrol, 2018:
“George Inness, the late 19thc American painter, maintained that “The definition of art is to represent objects, not for themselves but in order to embody the echo they have placed on our soul.” Like Inness, the Vermont painter Julia Jensen believes that all painting is ostensibly an expression of direct experience; the experience of passing through the world coupled with the experience of one’s internal, emotional and spiritual responses to that world.
Jensen explains that Entanglement II is painted from memory using a visual vocabulary she has built up over the years. When she paints she makes a concerted effort to “keep the subject out of it”, keeping the focus on color and shape. Understanding that, Entanglement II, with its crisp dynamic paint application, can be viewed not as a landscape, but as a pure outdoor palette. This tour de force of color lends us the feeling of New England in autumn.
A painting, first and foremost, is a physical entity. It is paint on panel creating a visual balancing act weighing light with dark, smooth with rough, deliberate with accidental. Somehow Julia Jensen balances her materials in a way that has the potential to embody the echos of our interior landscape.”
Julia Jensen lives in Vermont with her husband and cat.