Jill Bray
Interview
“ I use elements of landscape and man's marks on it, to express my obsession with the edges of the land and landmass. The work is both abstract and referential. The textures created by collagraphic means and actual collages emphasis the interest I have in both texture and colour. The physical digging and manipulating of the carborundum suggests ,man's marks, the colour emphasising the mystery and timelessness.” Born in Reading before the Second World War, Jill was brought up in the small village of Tilehurst, where she lived an idyllic life, hardly aware that a war was on. There was a huge American camp nearby, and every weekend , three American's came to lunch. Jill had begun to learn the piano from the age of five, and every weekend, these GIs would encourage her to play popular songs of the day. After the war, the family moved to Southampton where her optician father set up a shop in London Road, adjacent to a bomb site, where Jill played. Holidays were very influential at this time, and included visits to Cornwall, Devon and Wales. Initially she attended the Girls Grammar School, ( now Tauntons College) in Hill lane, where she took music at A level. Following this , Jill attended Bishop Otter College in Chichester ( now Chichester University) on a joint music and art teacher training course. The music, she says was good but the art was better. Here she came under the influence of the head of Art and charismatic teacher, Sheila McCririck. Sheila McCririck was a very astute collector, and she collected work not only for the college but also for Chichester Cathedral. She would go to Cornwall and buy work directly from the artists living there, Peter Lanyon and Terry Frost amongst others. Ivon Hitchens was also one of her selected artists. At this time, the works were displayed on the walls of the college, but now, because of their value, they are kept securely. Peter Lanyon and Ivon Hitchens were to become great inspirations on Jill's style. At the college, she became more drawn to art than music, and as well as the designated curriculum,would spend weekends painting the studio. Sheila McCririck bought one of Jill's early abstract paintings for the college.
“ I use elements of landscape and man's marks on it, to express my obsession with the edges of the land and landmass. The work is both abstract and referential. The textures created by collagraphic means and actual collages emphasis the interest I have in both texture and colour. The physical digging and manipulating of the carborundum suggests ,man's marks, the colour emphasising the mystery and timelessness.” Born in Reading before the Second World War, Jill was brought up in the small village of Tilehurst, where she lived an idyllic life, hardly aware that a war was on. There was a huge American camp nearby, and every weekend , three American's came to lunch. Jill had begun to learn the piano from the age of five, and every weekend, these GIs would encourage her to play popular songs of the day. After the war, the family moved to Southampton where her optician father set up a shop in London Road, adjacent to a bomb site, where Jill played. Holidays were very influential at this time, and included visits to Cornwall, Devon and Wales. Initially she attended the Girls Grammar School, ( now Tauntons College) in Hill lane, where she took music at A level. Following this , Jill attended Bishop Otter College in Chichester ( now Chichester University) on a joint music and art teacher training course. The music, she says was good but the art was better. Here she came under the influence of the head of Art and charismatic teacher, Sheila McCririck. Sheila McCririck was a very astute collector, and she collected work not only for the college but also for Chichester Cathedral. She would go to Cornwall and buy work directly from the artists living there, Peter Lanyon and Terry Frost amongst others. Ivon Hitchens was also one of her selected artists. At this time, the works were displayed on the walls of the college, but now, because of their value, they are kept securely. Peter Lanyon and Ivon Hitchens were to become great inspirations on Jill's style. At the college, she became more drawn to art than music, and as well as the designated curriculum,would spend weekends painting the studio. Sheila McCririck bought one of Jill's early abstract paintings for the college.
After college, Jill began teaching English at Millbrook Secondary School in Southampton. After marriage and the birth of two children, Jill enrolled on a three year part time diploma course at Southampton Art College where she was taught by Pater Folkes, whose name has been mentioned many times as an inspiring tutor. She describes her fellow students as “ young wives”.
Jill's work at this point , was still working in paint, in a style linked to Ivon Hitchens; however, in the third year, Jill was given the run of the print room for the first time , and this was to change the course of her work for ever. “ It was exciting to be in a room where you could do whatever you like”. This included a great deal of experimentation, for instance, printing from found objects. During this time , Jill went on three printmaking courses to Michael Honnor's sudio in Devon, on the edge of Dartmoor, working from 9.00 to 7.00 each day.
Her family had moved at this time into the Hampshire countryside, firstly to Meonstoke and then to Soberton Towers, where the rooms were large and for the first time she had her own studio; in addition, she could walk out into the countryside from her front door.
Through her fellow students at Southampton, it was decided that it was necessary to keep the group together. This began as a social thing and with the desire to exhibit together. This group was the foundation of 2d3d South, with whom Jill still shows.
Jill has had work bought for many collections, including Hampshire County Council and Southampton University, and the list of her exhibitions is too long to include. Major shows in which she has been included have been a touring show in Rekyavik, Duisberg, Amsterdam, Aarhus, Bratislava and Moscow, The Royal Festival Hall, The West of England Academy, The Barbican Centre, Bankside Gallery, Bedales gallery and many other local galleries.
The triptych below, from 2012, won First prize at the Portsmouth Open. The work concerns the excavation of the bodies of three Saxon soldiers complete with their swords found during the construction of the M3 cutting at Hockley.
The triptych below, from 2012, won First prize at the Portsmouth Open. The work concerns the excavation of the bodies of three Saxon soldiers complete with their swords found during the construction of the M3 cutting at Hockley.
She also has work in many private collections, and is a member of the Printmakers Council.
After moving to Fareham, she inherited a powered press from a friend; this has enabled Jill to print at home for the past fifteen years. Lately her work has changed to include collage as well as pure print. The main styles of print for which she has become well known are mono prints and carborundum prints. As with many other artists, Jill favours a limited colour palette, and the colours red and black are the trademarks of her process.
After moving to Fareham, she inherited a powered press from a friend; this has enabled Jill to print at home for the past fifteen years. Lately her work has changed to include collage as well as pure print. The main styles of print for which she has become well known are mono prints and carborundum prints. As with many other artists, Jill favours a limited colour palette, and the colours red and black are the trademarks of her process.
Jill says, “ I have never climbed a mountain, but they have always intrigued me. Seeing them from a distance, the paths and the cliff edges, and the archaeology of ancient sites in Southern England mirror the traces of land usage”.
© 2D3D South Contemporary Art, 2018