Jesse Golfis : IPMM Exclusive Interview

JESSE GOLFIS : IPMM EXCLUSIVE

“Making art and distributing it as my career, has come primarily from excellent communication skills, humor, and hustle…cubic butt-loads of hustle.”

The first thing that draws me to art are the aesthetics. As in, “that looks pleasing to me, I’d like to see more.”  That basically sums up my first impression of Jesse Golfis’ work; a somewhat amorphous perspective that employs color and texture as its entourage, while allowing the world to influence the creation.  Jesse knows what he likes, but isn’t too far inside his own head that he misses out on the world around him.  As long as I’ve known Jesse, he’s been willing to let inspiration guide him, whether in Arizona soaking up the desert, or in his studio in Minnesota, pondering his next series. After connecting and meeting in person, I was even more inspired by Jesse and his work. He speaks about it so passionately, and delineates his visions so clearly, that I completely trust his visual concoctions.

It’s a pleasure to collaborate, and more importantly, become friends with, creative people who’s personality and openness matches the beauty of their work.  Although some days Jesse might admit to wanting to lop-off his ear in a fury of Van Gogh proportions, his feet are steadily on the ground.  His recent success on the West Coast has fueled an insatiable work rate that can’t be stopped and I for one, am excited to see what’s to come.  Regardless of attention, Jesse lives to create and creates to live, and he wouldn’t have it any other way.  Good things happen to good people, not that Jesse needs the heaps of positive karma he’s accumulated…his art is good enough on its own.

by Evan La Ruffa

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EL: For those who don’t know anything about you, who the hell is Jesse Golfis?!

JG: I’m an urban-street-art-inspired painter. I found my style in the last few years of school at Luther College in Decorah IA, after taking a independent study in painting, with computer arts Prof. Richard Merritt. Richard helped me understand that finding ones’ style comes from repetition and working in series. Working in series also allows you to keep working on something while the other panels dry, thus never breaking your creative stride. This is a practice that I hold true to today.

I’m currently working on a Minneapolis skyline triptych (5′x6′commission), a “House of GAGA Tribute” square piece (24″x24″), as well as  a series of organic gestures, in studio, for at least 8hrs a day.  I round out the end of the day by consulting with the 2 non-profits I work with, IPMM and Keys 4/4 Kids, and am on the board of directors with both. That includes updating social networks, updating my website, consulting with Lee Greenwich on artist direction, and getting ready for particular shows.

EL: I know you spent some time in Arizona this spring…were ya productive?

JG: The first art party I threw there 2 years ago is where I met one of the greatest patrons I’ve had to date. They invited me out to do an Art Party at their “big house” in Oro Valley, AZ.  After making a 27 hour drive for a 1 night show and packing up the next day to make the drive back, I knew that Arizona was going to become a second home for me during Minnesota’s winter months. Since that show, I’ve been back to AZ two more times, and for this last visit, I stayed for two months because I was offered a casita to stay in and paint in, so I stuck around, sucking in Arizona’s climate and fauna. I created 10 Southwestern pieces which inspired me to do a invite only show at another patrons Clinic, Chiropractic USA. That work will remain until I return next February to create the next South Western series.

EL: How and when did you start painting?

JG: My father was a landscape architect that enjoyed sketching, so my bro Nick and I both have artistic genes.

EL: I’m a proud owner of a few of your pieces, including one of your older skate decks…what is the price range for your work, for anyone who might want to bless their home?

JG: The price point for my work is from $100 for an unframed Gestures – $5000 (for a custom multi-panel commission) But I offer a payment plan for purchasing original artwork on a budget, which everyone seems to be on these days. E-Mail for more info @ jessegolfis.com

EL: Can anyone be an artist? What percentage is hustle, versus talent?

JG: Being a painter can be learned, but some of us are wired to understand color theory as opposed to grammar or something more analytical like that. We see shades as opposed to blur, and have the ability to differentiate those gradients with the use of an artistic tool, like a paint brush or pencil. So part of it is talent, for sure, but a lot of it can be learned if reinforced by practice. That’s just whether or not you can consider yourself as an artist….I guess.

But “succeeding” as an artist, making art and distributing it as my career has come primarily from excellent communication skills, humor, and hustle…cubic butt-loads of hustle.  I have gotten more migraines from staring at a computer screen until 4am more than I care to count. But building a business, even an art business, is a marathon concept, it doesn’t just happen in a day. In the beginning it’s all on you, and you really need to be able to trust, I mean, really trust those friends and business partners you choose to work with, because in the end, its your name that takes the hit.

So in short (laughs), hustle is extremely important, but getting up and staying motivated every day is also what makes or breaks someone who wants to be a professional artist. The hardest part of being a professional is being forced to create according to a deadline, whether you procrastinated or not.  Forcing a creative to create is like giving a whole milk enema to someone who’s lactose intolerant.

 

 

EL: The last time we got together, you talked about the limitations of a paint brush. It’s the obvious tool, but what other kind of implements do you employ to create your art?

 

JG: There are limitations to the typical application method of paint: the brush…but don’t get me wrong I love the brush and all the shapes it can persuade paint to take. It can’t purely do everything that I need paint to do, hence my experimentation with different application methods, like Elmer’s glue bottles, knives, rags, and syringes. I use Frog tape as my means of attaching one piece to another, because most of these simple tools are only meant to be used once, then the tool is dissembled and cleaned. Like my syringe pen, where I screw on and tape a .05 mechanical pencil tip to the tip of a plastic pet medicine syringe. This tool is used to draw fine lines, either thick or thin.

EL: What kind of paint do you use? What do you consider the advantages and disadvantages or your chosen paint?

JG: I love Golden Acrylics as well as some stuff made by Blick Art Materials. I like to use paint that has a lot of pigment in it, making for bright and vibrant colors. I can always thin down a color with water…thick paint makes it easier to attain 3d forms on a 2d surface.  I’m currently really enjoying the dance that is learning how to attain different types of texture, mostly through trial and error.

EL: How has your work evolved to become what people see from you these days?

JG: My work is constantly evolving, that’s why I’m so excited for what the future holds for me within the art community. I am quickly developing the tools and methods necessary to evolve my vision and thus continue on this positive creative drive.

EL: Name one artist or musician IPMM readers should check out.

JG: Music Artist: http://ratatatmusic.com

Painter: Ben Moore – mooreben.blogspot.com we shared a studio together in College…

Check Jesse Out!

Link to FB Fan Page

Link jessegolfis.com Website