Artist Ryan Jones is no stranger to the world of the silver screen, from working for Industrial Light & Magic on film special effects as a digital artist to being commissioned by Prince Albert II of Monaco to create a tribute to his late wife Grace Kelly. Jones often draws on this world, using his self-professed style of fragmented contemporary realism to weave well-known musicians, actors, and cinematic imagery into his work. And this is fully on display in his solo exhibition, Icons, at Caldwell Snyder, running from July 10 to August 31.
The collection comprises eight oil paintings, all divided into three or four segments, that focus on pop culture icons. Each piece places the celebrity parallel to images of items symbolic of them – think Connery’s Rolex Submariner from “Dr No,” or Warhol’s Marilyn Monroe screen print. The effect of it all is impressive – but it’s Jones’ ability to trick the audience into believing they’re looking at a photograph that truly demands our attention.
Jones, who was born in Alameda and now resides in Mill Valley, talks to us about his newest body of work, the benefits of living abroad, and what inspires him.
What was the driving force behind your upcoming exhibition, Icons?
A few years ago I was commissioned by Bob’s Watches in Orange County to create a piece that featured Sean Connery as James Bond with a Rolex watch and a car – it ended up being an Aston Martin. That project then springboarded an interest in incorporating watches into my work, and tying it into the people that famously wore them.
The watches portrayed in Icons look very much like a photograph, rather than an oil painting. How did you manage to create this effect?
It was a little daunting to begin with and I had to figure out how to create the more complicated watches. So I developed these tools around the house – I made all of these stencils for the numbers, and created a compass that I attached to paint pens to help create the clean shaped circles for the watches.
Where do you typically draw inspiration from when creating art?
My background in film. I tie in a lot of cinematic themes and just create as much of a cinematic narrative as possible. I like presenting something, and then there’s any underlying story you might pull from it. I’m not telling you the story, so it’s kinda up to you to make what you will of it.
Another aspect of the inspiration I draw from film is the lighting, framing, and compositional aspects of how characters and stories are presented.
You studied both art and engineering at Stanford. When did you realize that art was your calling?
It took me a while, not until I was 30 years old. I was living overseas in Singapore and I was at an art fair there, and I just hadn’t seen art at that scale before. My thought was “wow, I could do this.” But I didn’t really have anyone to push me in that direction. I took painting classes in college, but they weren’t putting us on a path to pursue that after school.
Speaking of Singapore, you moved there during your time working at Lucasfilm. What was that like?
It was great. This was back in 2012 when I was working as a digital artist doing special effects for Industrial Light & Magic, Lucasfilm’s visual effects company. They had opened their first international office, and there was a job opening. I thought it was an ideal time to explore the world and live somewhere new. Living abroad, it makes you a good traveller, and a good processor of information and people and cultures. Doing that alone, exploring these places, it’s great character building.
You’re largely self-taught. How do you feel that sets you apart from your peers?
It really allows you to figure out what works for you and take it from there. For me, I choose not to use painting medium – substances that are added to paint to change its flow, dry time, consistency, and texture. Even though people insist it’s a necessary part of the painting process, I typically prefer not to use it, as it helps me to achieve a more uniform matte surface.
Even the organization of my studio – when my friend Eric Zener comes over, he’s shocked at how clean I keep it. There’s this stereotype that artists have messy and disorganized studios, but that doesn’t fit my personality.
Are there any particular artists who inspire you?
As a child I loved MC Escher, but as I got older I’ve really gravitated towards the painter James Rosenquist. I also love Urs Fischer – he had a series of paintings of people with objects covering their faces, which were really great.
What drew you back to the Bay Area?
I missed the beauty of the Bay Area. I initially moved back into my condo in San Francisco, but shortly after returning I started painting large pieces. In that first year the condo got so crowded with huge paintings that moving to Marin became both a want and a necessity.
In Marin I was able to find more space in a beautiful midcentury house in the trees, which has a spacious studio area, and is where I still live and work today.
What responsibility do you feel artists have to reflect the times in which they live?
Art-making is a personal experience for each individual. I think if you are doing something because society or a teacher says “it’s your responsibility,” you are going to veer off course from what is authentically you. If that message is where the art originated from, then amazing, pursue that. But if it is a forced narrative to fit into a box of what galleries and museums consider “good,” I don’t think that is a path towards making your best work.
What are your thoughts on AI and its effects on the art world?
AI is obviously an incredible tool for society, and as the world changes around it I’m happy that I can still physically make things with my hands that collectors value, appreciate, and enjoy in person and in their homes.
I don’t think the allure of handmade objects by humans will disappear and hopefully human creative ingenuity will remain highly valued. I’m sure digital canvases with AI generated art will have a place in people’s homes and museums in the future, but it remains to be seen to what extent people come to value such creations within the lineage of art history.