In Process with Jordy Hewitt.
In Process with Jordy Hewitt.
We first came to know Western Australian based painter Jordy Hewitt's work through Jade Gillet, of Rainbow Studios, at her first solo exhibition ‘SECOND TEN’ at the Darlinghurst based creative space.
Fastword to today, and one of Hewitt’s paintings hangs in our Armadale residency. So as we looked at our Spring Summer ‘25 collection, Florescence – inspired by Ogawa Kazumasa’s, Some Japanese Flowers, and the process of developing, we turned to Jordy to tune into her process, her preferred medium and artists who have inspired her.
We sat down with Jordy for YES SIR.
WHEN DID YOU START PAINTING?
I wanted to be a singer since I was little, so music and also photography were my earlier avenues of expression. I grew up in a music loving household- my dad had a great singing voice and my brother was a piano player and interested in producing. I went to a Suzuki school at four because my mum saw that I had a natural ear. I had a bit of a music journey playing in bands, writing, performing and studying photography too. I always had polaroids and holgas and a variety of 35mm cameras. I still love taking photos and the analogue side of film - it’s using observation skills and tapping into a moment that moves very fast and you dive into it, and then a thing of beauty is translated/spat out. It’s kind of a mystical act trying to feel when and where the magic is. This is similar to my painting process - uncalculated, searching, instinctive, waiting for clues. Singing is quite unique because it’s the most intimate and direct, the “product” is literally air that’s emitted or pushed from inside your body, I just find that so personal and wild. I’m always trying to achieve that in painting, to let it come through with honesty and courage. I fell into drawing and painting when I took a break from music and moved home to Perth in my mid twenties, it was an unplanned thing. I went to life drawing groups for a year or two and then ended up studying Fine Art in Perth and now I’ve been exhibiting for 10+ years.
HOW DO YOU DECIDE WHAT MEDIUM OR MATERIALS TO USE FOR A SPECIFIC PROJECT?
I use oil paint, oil bars, pigments mixed with mediums like wax paste or oleo gel and I paint on canvas. I always paint portrait orientation unless it’s for a custom piece because it’s my preference. Portrait speaks more to the idea of a door, window, mirror or portal. There’s more of an instinctive reading or intention toward the human/self rather than being framed as “I’m looking at a nice landscape”.
HOW DO YOU APPROACH EACH BODY OF WORK?
Sometimes if I know where I’ll be showing then I can be strategic about sizes and ratios of canvases to make the most impact in that space, but often I’m just making what I want to and where they end up transpires later. There is a lot of suspension of knowing what’s ahead, or what the work will be. I don’t have a vision or plan, usually it’s ruminating, doing and seeing. The thing to stay on top of is lightness, not to worry about the work, and newness because my hand wants to repeat itself and become unsurprising and dull very quickly.
Second Ten XIV, 2024, Oil, wax and oil stick on canvas, 155 × 125 cm
WHAT'S YOUR FAVOURITE PART OF THE PROCESS?
I name a series with an overarching title and then number the paintings under that. The satisfaction of settling on the name is nice. I can’t usually start this process until I’m nearing the end of a collection of work because I’m just starting to understand and reflect on what’s transpired. It can be illusive and frustrating if there’s a deadline and it’s not coming. I outsource some brainstorming with trusted friends which is fun (for me!) and a rare collaborative part of an otherwise very solo job.
DO YOU HAVE A SPECIFIC ROUTINE OR RITUAL YOU FOLLOW WHEN CREATING? WHAT SOUNDTRACK IS PLAYING IN THE STUDIO?
I mix the palette first so I have lots of options in front of me and once I start I don’t have to stop too much to mix more colours. I work in a space where I can hear others and their music so I have to tune that out. I don’t listen to podcasts so that I’m not in a thinking, brain space. At the moment - Christine and the Queens, SZA, Bullion, Suitnop, Breathe, Jamie XX, Mac Miller, Doechii.
HAS YOUR PROCESS CHANGED OVER TIME?
Every series is different but I think I’m recognisable across collections. I’m always wanting the paintings to be better, more uncertain, more beautiful, possibly induce reverie, and be the most resonant of that time in my life.
Second Ten II, 2024, Oil, wax and oil stick on canvas, 89.5 × 63.5 cm
ARE THERE ANY PARTICULAR ARTISTS, MOVEMENTS, OR CULTURES THAT HAVE INFLUENCED YOUR STYLE?
I’m most interested in consciousness so I’ve always studied psychology, spirituality, meditation and breathwork, alternative healing, astrology, human design and other modalities of archetypal energies and self understanding, dreams, experiences with the unseen. Some big historical names would be - Hilma Klimt, Agnes Pelton, Joan Mitchell, Rothko, Monet, Frankenthaler, Louis Morris, Twombly. My most recent art book purchase was Katharina Grosse ‘Studio Paintings’. Two Australian shows I loved last year were Paul Boston at Heide and Brent Harris at Tarrawarra.
WHAT ARE YOU WORKING ON NEXT?
I’ve recently launched limited edition prints for three of my paintings - one from each of my Hum, Daylight and Second Ten series. It’s the first time I’ve ever offered prints and I spent the end of last year choosing and perfecting these with a team in Perth and they have turned out so well.
I’m working on a private commission for someone in Perth and I’m starting new pieces for a three artist show in Noosa later this year. Last year was a big year with solo exhibitions in Melbourne and Sydney (at Rainbow Studios) so only just now going into a new making phase.
Dive into Jordy's latest body of work ‘SECOND TEN’ via Rainbow Studios.
Follow Jordy’s creative journey @jordy_hewitt
