Interview with Fran Johnson
Fran, your work is described as resonating with a "merging of color and light," often balancing chaos with control. Can you discuss a specific piece where this balance was particularly challenging to achieve? What did the process teach you about your own methods or philosophy in art?
I use patterns to tell a story. Sometimes, the story doesn't materialize until a couple of days into the painting. Digging into the deeper side of the story is the hardest part for me. I'm affected by what's happening in the world, politically and concerning humanity. Sometimes, it's simple, but most of the time, I have to dig down and find the story. That recently happened with "Horizons", a new painting. It looks fairly cool and clean at the top but the drips and drags speak to the darker side of life.
Being an outdoor enthusiast, how do you translate the dynamic motion and texture of natural environments into the static medium of oils and acrylics? Could you walk us through how a recent outdoor experience transformed into a piece of artwork?
I specialize in the textures I use to speak through the painting. I'm a huge lover of greens and rusts, so a lot of my paintings have that aspect of depicting nature and the environment.
You incorporate an interesting mix of materials such as wires, gold leaf, and hand-made paper in your artwork. How do you decide which materials to use in a particular piece, and can you share more about the technical challenges and rewards that these materials bring to your work?
The painting takes on new life with man-made papers, gold leaf, and whatever I find in my crafts toolbox. Sometimes, to get the depth I want to show, I just have to incorporate other materials to tell the story I want to convey. I also use glazes and different transparent mediums to convey motion which is a huge part of the story I want to tell
Your art is noted for presenting a "linear narrative." Could you explain how you conceptualize and develop this narrative through abstract forms and colors? How important is it for the viewer to perceive this narrative, versus their personal interpretation?
Well, the painting has to have a pattern for the "viewer" to figure out. That's all about the "linear narrative". Sometimes it's with a color scheme of only 2-3 colors but always leading the viewer through the painting. You may not see it the first time you look, but there's always a system of patterns, sometimes very complex (taking a couple of days to figure it out) and sometimes it's just very simple
As a trusted art seller, how do you balance the integrity of your artistic expression with commercial considerations? Does the business side of art influence your creative decisions, and if so, how?
I'm not a crafter. I'm not that kind of painter. Selling for the masses doesn't interest me unless it's selling my art as a print or through merchandising which I do. I think as an artist you need to be careful how you market yourself. I come from an Art Director background, so marketing has been in my blood for years. So I'm careful about where my work appears. If you're going to do this the business end of it is always first of mind.
Having worked as an Art Director in high-stress environments, how has painting served as a form of stress relief? Do you find that your professional experiences in advertising and corporate settings have influenced your artistic style or approach?
As a Senior Art Director, my living depended on the best ideas for branding and designing for the client and their products. Working with teams of young designers gives you perspective on what you want to convey to the public, but it doesn't satisfy the need to create on your level. I found that satisfaction in abstract painting.
You've been featured in digital exhibitions and prestigious catalogs multiple times. Which of these recognitions do you value most and why? How has such recognition impacted your career and artistic ambitions?
I value the "Artist UpClose" article written about my work. It was very well written and really got to the heart of my work. It's very hard to get your story out to the right curators, buyers, and collectors so when I can tell my story I feel like I'm reaching the right audience.
Could you describe the journey from concept to completion for one of your artworks? How do you know when a piece is finished, and have you ever significantly altered a piece based on a moment of inspiration or critique?
Oh, Absolutely! I have painted a couple of canvases early in this new career of mine and wonder, "What was I thinking when I painted that"? To the dismay of one of my friends who thought it was lovely I completely painted over it and started a new chapter in that canvas' life. I've done this a couple of times because I felt there was not a story there. Just a pretty picture. Telling a new story from an old painting is very satisfying.
You mention borrowing from past art techniques while applying them in a modern context. Can you give examples of these techniques? How do you decide which historical elements to incorporate, and how do they mesh with modern artistic expressions in your work?
When I was in college, I studied the masters and loved the chiaroscuro techniques used by them to lead you into the depth of the scene they're painting. I started using what these paintings taught me about how to use glazes and foreshortening for the realistic affect used by the masters. My view is that if you have a bad day of painting go back to study the masters.
Looking ahead, what new themes or techniques are you eager to explore in your upcoming works? What kind of legacy do you hope to leave through your art, and how do you see your work influencing or contributing to contemporary art dialogues?
I have some new materials I'm anxious to try for a couple of new canvases I'm working on. I just got back from the San Diego show a couple of weekends ago. My work was shown at the Artavita booth virtual display show. I noticed some of the new materials being used by artists there and am excited to try new techniques. I would use them differently than what I saw, but I love that we're all trying new materials
