"The elements and figures in my work all mean something... to me anyway.
And some of them are just things that I like and find beautiful."
JACQUELINE DENTON
Sweet Nightmares: What are you currently working on?
Jacqueline: I recently finished up a piece for a group art show in San Francisco called LEWD. I'm always working on my own artwork when I'm not too busy with school projects.
SN: Sounds fun! Do you find yourself drawing how you see the world or things you'd like to see in the world?
J: I think a combination of both. I definitely draw things how I see them in my own 'world,' but I also think I draw things I'd like to see more of as well, or maybe things I wish more people could understand.
Jacqueline: I recently finished up a piece for a group art show in San Francisco called LEWD. I'm always working on my own artwork when I'm not too busy with school projects.
SN: Sounds fun! Do you find yourself drawing how you see the world or things you'd like to see in the world?
J: I think a combination of both. I definitely draw things how I see them in my own 'world,' but I also think I draw things I'd like to see more of as well, or maybe things I wish more people could understand.
SN: You have a fun, psychedelic style. Have any of your pieces made their way into your dreams?
J: Surprisingly no. That'd be cool as fuck though. I actually don't ever remember any dreams I have.
SN: Really? That's actually an amazing feat! I'd think an artist with your visual capabilities draws a lot from her dreams.
J: I think I dream a lot during the day which is why I never dream at night, haha.
J: Surprisingly no. That'd be cool as fuck though. I actually don't ever remember any dreams I have.
SN: Really? That's actually an amazing feat! I'd think an artist with your visual capabilities draws a lot from her dreams.
J: I think I dream a lot during the day which is why I never dream at night, haha.
SN: By the time night time comes, all the dreaming already happened.
J: For real tho.
SN: What is the typical process of creating a Jacqueline Denton piece? Physically and psychologically?
J: My process usually starts with a reference photo that I take of myself. I gesture it out and flesh out the figure then transfer it and trace it up and make it cleaner. I usually always start with a figure/pose and develop the rest around that.
SN: I never plan anything when I draw. However I'm feeling or whatever Im going through will influence whatever is happening in the piece somehow. I try to make the process as intuitive as possible. When I plan things out I get stuck and stressed out. I work best with feeling things are limitless with no plan or end result.
J: For real tho.
SN: What is the typical process of creating a Jacqueline Denton piece? Physically and psychologically?
J: My process usually starts with a reference photo that I take of myself. I gesture it out and flesh out the figure then transfer it and trace it up and make it cleaner. I usually always start with a figure/pose and develop the rest around that.
SN: I never plan anything when I draw. However I'm feeling or whatever Im going through will influence whatever is happening in the piece somehow. I try to make the process as intuitive as possible. When I plan things out I get stuck and stressed out. I work best with feeling things are limitless with no plan or end result.
SN: I always felt the woman in your pieces was version of you. Now it all makes sense.
J: It's totally me!
SN: Are you often satisfied, disappointed or surprised by the outcome of a finished piece?
J: It can be a combination of all of those things. Sometimes I'll love a piece once it's drawn out, but hate it when I add color, or vice versa. Sometimes I never know, but that makes it even more exciting when it works. Usually though I feel pretty satisfied about a piece if I completed it.
J: It's totally me!
SN: Are you often satisfied, disappointed or surprised by the outcome of a finished piece?
J: It can be a combination of all of those things. Sometimes I'll love a piece once it's drawn out, but hate it when I add color, or vice versa. Sometimes I never know, but that makes it even more exciting when it works. Usually though I feel pretty satisfied about a piece if I completed it.
SN: Your work seems very personal, yet pretty accessible for viewers. Do you find it hard to let go of them when someone is interested in purchasing?
J: It really depends on the piece. Sometimes I struggle with wanting to sell something, but I think it's also important to let your art go and be somewhere else. I want my art to be in as many places as possible for whoever wants it and enjoys it.
SN: Do you ever have doubts in your projects? How do you deal with it?
J: I do at times. I think every artist goes through it. I sometimes feel my work is predictable. I fought for a long time with myself about people misunderstanding or misinterpreting my work. I think no matter your doubts or fears you have to keep creating things and putting it out there. You'll never get over anything if you do nothing.
J: It really depends on the piece. Sometimes I struggle with wanting to sell something, but I think it's also important to let your art go and be somewhere else. I want my art to be in as many places as possible for whoever wants it and enjoys it.
SN: Do you ever have doubts in your projects? How do you deal with it?
J: I do at times. I think every artist goes through it. I sometimes feel my work is predictable. I fought for a long time with myself about people misunderstanding or misinterpreting my work. I think no matter your doubts or fears you have to keep creating things and putting it out there. You'll never get over anything if you do nothing.
SN: It's easy to recognize your art work even if your name isn't attached to it. How did you develop your style?
How did the usual cast of spooky characters and elements come to be?
J: I've always been influenced and inspired by illustrations from the 60's and 70's. I like to use a limited color pallet because people can immediately identify it as my work and I think it can be more challenging than having access to all the colors ever. It took me awhile to develop my style. My work has become more polished and refined where as before it was more organic and rough. The elements and figures in my work all mean something.. to me anyway. And some of them are just things that I like and find beautiful.
SN: I'm always curious to spot returning characters in your works and seeing what they're up to this time.
There's a narrative element even if a collage of your pieces were scrambled.
J: I'm glad you think so! I really want the viewer to make a narrative story out of it and engage in the world.
How did the usual cast of spooky characters and elements come to be?
J: I've always been influenced and inspired by illustrations from the 60's and 70's. I like to use a limited color pallet because people can immediately identify it as my work and I think it can be more challenging than having access to all the colors ever. It took me awhile to develop my style. My work has become more polished and refined where as before it was more organic and rough. The elements and figures in my work all mean something.. to me anyway. And some of them are just things that I like and find beautiful.
SN: I'm always curious to spot returning characters in your works and seeing what they're up to this time.
There's a narrative element even if a collage of your pieces were scrambled.
J: I'm glad you think so! I really want the viewer to make a narrative story out of it and engage in the world.
SN: Speaking of narratives, you share a symbiotic creative relationship Oliver Hibert. What was the process like writing a comic together?
J: That process changed me. It changed my entire perception of art and process. I think he would say the same. The comic was totally experimental. We literally made it up as we went along. That comic came from a different universe. It was cathartic and natural to make it with him. I don't think I could have made that comic with anyone else but him. It bonded us.
J: That process changed me. It changed my entire perception of art and process. I think he would say the same. The comic was totally experimental. We literally made it up as we went along. That comic came from a different universe. It was cathartic and natural to make it with him. I don't think I could have made that comic with anyone else but him. It bonded us.
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SN: It's always a momentous thing when you find another creative mind you can easily blend with. I hope you two never stop being psychic twins.
J: I totally agree! And thanks! We never will. Ever ever ever!
SN: Phew! Anything else lined up at the moment? Things you'd like to take on?
J: Speaking of the comic, we do plan on starting a second one very soon. We've been working stuff out with our publisher, but it's coming!
SN: A sequel? Thanking the art gods right now!
J: Yep!
J: I totally agree! And thanks! We never will. Ever ever ever!
SN: Phew! Anything else lined up at the moment? Things you'd like to take on?
J: Speaking of the comic, we do plan on starting a second one very soon. We've been working stuff out with our publisher, but it's coming!
SN: A sequel? Thanking the art gods right now!
J: Yep!
Music to create to?
Anything spooky and psychedelic.
Movie you'll never get tired of?
Willy Wonka and the Chocolate Factory.
The original not the Tim Burton remake.
Favourite snack?
Anything sweet!
Favourite planet?
Saturn.
What would you do without art?
Die probably.
Anything spooky and psychedelic.
Movie you'll never get tired of?
Willy Wonka and the Chocolate Factory.
The original not the Tim Burton remake.
Favourite snack?
Anything sweet!
Favourite planet?
Saturn.
What would you do without art?
Die probably.
Thanks for reading.
♥
Check out more of Jacque's work.
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Psychic Space Twins
Conducted by Polaris Castillo
February 4th, 2016
February 4th, 2016
