Caroline Jackman
behind the art
Caroline Jackman
1. What sparked your journey into art?
My great grandad gave me a set of quality watercolour paints and sketch book when I was 11. I always looked up to him and his work as a painter. I still think of that gift today. It gave me permission to take myself seriously.
My parents were very open, allowing me to focus on what I loved to do, and I chose to do a degree in Fine Art. I got asked to do a commission of two horses in my second year. I embraced the opportunity and the owners were thrilled, they even showed me the painting in situ, sitting alongside an Elizabeth Frink watercolour. I was incredibly honoured. It ignited a confidence that I could possibly make a living from my art.
At the time, I was also passionate about creating opportunities for others, exploring curation, teaching and project management. This foundation laid the pathway to where I am today, an artist working to commission and gallery exhibitions, a project manager and now a coach and business trainer for other creatives.
My parents were very open, allowing me to focus on what I loved to do, and I chose to do a degree in Fine Art. I got asked to do a commission of two horses in my second year. I embraced the opportunity and the owners were thrilled, they even showed me the painting in situ, sitting alongside an Elizabeth Frink watercolour. I was incredibly honoured. It ignited a confidence that I could possibly make a living from my art.
At the time, I was also passionate about creating opportunities for others, exploring curation, teaching and project management. This foundation laid the pathway to where I am today, an artist working to commission and gallery exhibitions, a project manager and now a coach and business trainer for other creatives.
2. How would you describe your artistic style to someone seeing it for the first time?
I am known for my ability to capture an animal’s character through the expression in their eyes. My clients see their horse, their cat or their dog in front of them when I present a commission.
For speculative work, I enjoy using bold marks and colour to encapsulate characteristics of my animals on the farm, I feel this approach gives a narrative to how I might feel in the moment or reflect a situation that has taken place in the running of the farm.
For speculative work, I enjoy using bold marks and colour to encapsulate characteristics of my animals on the farm, I feel this approach gives a narrative to how I might feel in the moment or reflect a situation that has taken place in the running of the farm.
3. What inspires you most when creating new work?
The personalities of animals, they are so varied.
4. Walk us through how you create a typical piece, from inspiration to completion.
I have spent my whole life around animals, from having the passion to be a vet as a child, to training horses to running a farm. Each day tells its own story and that is my starting point.
When starting a speculative linocut, I have an idea of what I would like to focus on. Using my extensive photo library and my stack of sketch books, along with inspiration taken from printmaking techniques, I start to hone the ideas. I then draw a map. Linocuts require a lot of preparation, and you have to work light to dark and in mirror form. Why linocut? I find cutting the plate very mindful, and I find the final results pleasing to my eye, especially in a crisp well-cut image.
I often create a linocut that has several colours. This requires me to create a registration, to ensure, when I print using the press, the colours align and you are not looking at a blurred image. To produce a successful final print with many layers and techniques can be very challenging, and equally very rewarding when you get it right.
For commissions, I prefer to meet the animal, like with my speculative work, knowing the animal is the main part of the process. They show me how they behave in their own environment, this can offer up so much of their personalities. Though I am not wedded to this. As I have worked from people’s photos on many occasions, either because the animal in question is out of geographic reach (overseas even) or they are deceased.
For the commission, I am often asked to do a watercolour. I prepare the watercolour paper, by wetting and stretching it onto a board. Once dry, I sketch the portrait. Once I am satisfied, only then do I start to paint. First with broad light mark making, to build the form of the animal, then, I work slowly building layers, to achieve the details. When the animal on paper starts to respond to me (I call it talking back at me), I know they have come alive in the commission and ready to meet their owner.
When starting a speculative linocut, I have an idea of what I would like to focus on. Using my extensive photo library and my stack of sketch books, along with inspiration taken from printmaking techniques, I start to hone the ideas. I then draw a map. Linocuts require a lot of preparation, and you have to work light to dark and in mirror form. Why linocut? I find cutting the plate very mindful, and I find the final results pleasing to my eye, especially in a crisp well-cut image.
I often create a linocut that has several colours. This requires me to create a registration, to ensure, when I print using the press, the colours align and you are not looking at a blurred image. To produce a successful final print with many layers and techniques can be very challenging, and equally very rewarding when you get it right.
For commissions, I prefer to meet the animal, like with my speculative work, knowing the animal is the main part of the process. They show me how they behave in their own environment, this can offer up so much of their personalities. Though I am not wedded to this. As I have worked from people’s photos on many occasions, either because the animal in question is out of geographic reach (overseas even) or they are deceased.
For the commission, I am often asked to do a watercolour. I prepare the watercolour paper, by wetting and stretching it onto a board. Once dry, I sketch the portrait. Once I am satisfied, only then do I start to paint. First with broad light mark making, to build the form of the animal, then, I work slowly building layers, to achieve the details. When the animal on paper starts to respond to me (I call it talking back at me), I know they have come alive in the commission and ready to meet their owner.
5. What makes your creative process unique?
Colour, bold mark making, the composition all contribute, but it is the eyes of the subject matter that tell their unique story.
6. Share a favourite studio ritual or habit that's part of your creative routine.
Looking through my sketch books and photos and then just starting with writing notes.
7. What excited you about creating this particular collection?
These are all animals from my farm that I wish to share. Presenting them as ink sketches that would complement each other and work individually was a nice challenge to have
8. What's your favourite piece from this collection and why?
The ewe, simply as it was the hardest to produce, making it all the more satisfying. I am pleased with how the wool and fur worked with the mark making.
9. What do you hope customers feel when they see these designs?
All animals have personalities.
10. When not creating art, where might we find you?
On the farm or in my office as a freelance coach and business consultant
11. Share something surprising about yourself that people might not expect.
I used to be terrified of spiders. This is very impractical living on a farm. I started to study them through art and now, I love them. They are beautiful.
12. What's next on your artistic journey?
I hope to secure some funding for some mentoring for creative development. Your skills development journey never stops. Life is a continuous learning journey.
13. Where do people find you online?
Instagram curly_shepherdess
Facebook https://www.facebook.com/Carolinejackmanartist
Website https://www.carolinejackmanart.com/
Facebook https://www.facebook.com/Carolinejackmanartist
Website https://www.carolinejackmanart.com/
14. How would you like them to contact you to order a print?
I have artwork for sale on my website, or they can email me directly: carolinejackmanartist@gmail.com
15. If they want to find you in person, is there a way for them to do that?
Contact me to arrange a visit to the studio based at Tilthams Farm
16. Are there signed prints of the collection that they can order?
The originals are available.