Today we’d like to introduce you to Jill Kramer.
Hi Jill, thanks for sharing your story with us. To start, maybe you can tell our readers some of your backstory.
I received my BFA in printmaking from Kent State University and my MAAE from the School of the Art Institute of Chicago. I have always been inspired by the natural environment and the time I spend hiking, biking and just being outside, highly influences my work. I’ve been a teaching artist for over 20 years and have facilitated programs for preschoolers to senior citizens. My interest in arts administrative work has found a place in public schools, museums, and community art organizations. I have exhibited my artwork throughout the midwest and as far away as Alberta, Canada and Nicaragua. When not traveling across the country for visual inspiration, I can be found in my studio or a bike trail.
In the spring of 2022, upon the completion of my tenure as the Executive Director at a local historic art center, I had the opportunity to reinvigorate my creative practice. I was looking for an adventure that would directly impact my artwork, I could share with others and would reflect my love of the outdoors. Having never been to Utah, I came across a video of mountain bikers on the White Rim Road in Canyonlands National Park. At once I knew Canyonlands, Arches, Capitol Reef and Zion National Parks would be my destinations. Shortly thereafter, a 3-week drive/bike/hike trip was on my calendar.
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
Nothing worth doing is easy, right? I willingly chose a competitive, often under-appreciated or under-valued profession. There were times when I needed to put my studio practice as secondary to my current stage of life. When my children were young, the only time I had in my studio was when they were at school I worked part time outside of my studio so that I could contribute to our household expenses. But through all of that, I was able to maintain some kind of studio practice for 25 years.
Working in a private studio offers me the time to concentrate without distractions and allows me to delve into my creative practice. I can play music as loud as I want, I can be as messy as I want, etc. However, the privilege of having my own space to work can be isolating and lonely, especially when I need feedback or creative input. So I have found a variety of artist groups for critiques, exhibition, and teaching opportunities.
Can you tell our readers more about what you do and what you think sets you apart from others?
My printmaking practice draws inspiration from personal interactions with the geographical and natural environment via my travels across the United States. Whether in a national park or driving along the turnpike, I am captivated by the landscape in front of me.
I am influenced by illustrative & advertising block prints from the early to mid 20th century and contemporary mokuhanga prints. I combine linocuts and watercolor to create editions that represent a my interpretation of deteriorating and idealized landscapes.
I aim to demonstrate the relationship between my art practice and my reverence of nature. I want the viewer to experience what I did in that location, a sense of awe & timelessness, a moment of quiet in a busy world.
I am not a bragger, but there are two things that have done with my art career that I am most proud. The first being granted an Artist Residency in Acadia National Park. I applied as a way to bridge the gap between employment and the start of graduate school. I was awarded 2 weeks of full park access, the opportunity to present a hands-on workshop to the public and the honor of having a piece of mine become part of the Acadia National Park art collection. That experience has been a driving force in my landscape work ever since.
The other thing that comes to mind is a series of four images each depicting a different city I had recently visited. Each image was cut into a 3ft x 5ft block. I hand-printed each block 4 times, then hand-colored each image. This project took a full year to complete and consumed all of my studio time. This was more of a personal challenge than anything and learned so much, partly that sometimes bigger is better.
We’d be interested to hear your thoughts on luck and what role, if any, you feel it’s played for you?
Luck? Maybe more like continued effort.
I begrudgingly applied to college when I knew my parents and I could not afford to send me to the art school I wanted to attend. I ended up in a printmaking class at Kent State University with ‘the worst’ professor there and a few peers encouraged me to drop the class. I didn’t, and that professor ended up being the best teacher I ever had and put me on the path to being a lifelong printmaker and learner.
I know that staying involved in my art community, my living community, my education community has allowed me to make connections with people, businesses and organizations that have been beneficial to me professionally and personally. I prefer to think of this as hard work and continued diligence towards my goals and something positive.
Yes, I have had things happen that others might consider back luck. For instance, I was bumped from a solo exhibition at a local gallery when management changed. While I had been looking forward to exhibiting there, the change of plans gave me the opportunity to explore Utah during the time the exhibition would have been installed. That adventure has provided me with a whole new perspective on what I want to create, why I want to create it and how I will go about it.
Pricing:
- $40 – $500
Contact Info:
- Website: jillakramer.com
- Instagram: https://www.instagram.com
- Facebook: https://www.facebook.com/chimerapress
Image Credits
Jill A. Kramer
