Jim Jordan

Ontario, Canada, In the Rough, oil, 44 x 30" (112 x 76 cm)

My Inspiration

Living in the north woods, on the edge of a seemingly endless boreal forest, I loved exploring its waters and swamps, bedrock abounding with lichen, fallen trees and their undergrowth. This passion for nature continues to inspire me as an artist.

“Can’t see the forest for the trees” refers to persons too focused on details to see the big picture. As an artist, I love focusing on small details. To me, the forest floor is where the action is. It is the most visually fascinating feature of any woodland. Decaying and new vegetation, bone-dry branches and stems, peeling bark, neon-colored clinging moss, are never-ending reminders that from decomposition comes rebirth. This is the essence of In the Rough.

My Design Strategy

Linear angles, texture and varying shapes and proportions are key elements in all my paintings. Prior to creating In the Rough,

I hiked into the bush, with my camera, in search of source material. The photographs I shot collectively depicted a natural tension created by lines of branches and trunks in situ, and the relief of that tension through the inclusion of quieter areas of texture, such as moss and colorful leaves. I love dense imagery, and this is reflected in the painting. Dense imagery creates opportunities for discovery and unraveling mystery. Back in my studio, I compiled a collage, a composition that was more selfcontained and slightly altered. I recognize that nature ultimately is a far better designer than any artist.

My Working Process

First, I stretch my own raw canvas, an 11-ounce cotton duck, and prepare the sizing with rabbit skin glue, then gesso. After laying out my landscape, I blocked out background segments with middle range colors: olive green for the moss, gray for the birches, brown for the leaf areas. I then modeled with soft bristle brushes. I spent the most time altering base colors, using quality watercolor brushes and a pointillism technique. I blended my oil paints with a mixture of one-third turpentine, one-third boiled linseed oil and one-third Damar varnish. I always use a Mahl Stick to avoid contact with wet paint. Photos are my reference material. But my completed work differs greatly from a photo. In my paintings, the backgrounds are as sharp as my foregrounds, creating a stark, intense and out-of-the-ordinary image.

Contact Details

Email: jimjordan@sympatico.ca Website: www.jimjordanmerrickville.com