The South African Artist – July 2019

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e-mail: [email protected] | http://www.johnwentz.com | Instagram: @johnwentz

What is a typical day for you - do you have a set routine?
Yes, the routine keeps you going! I generally wake up around 7am and
have coffee and check art news and blogs. Afterwards, I meditate
and then head to the studio. I like to get the administrative work out of
the way as soon as possible so it’s generally emails, social media, etc
before painting. I then paint all day, until about 6 or 7pm with a lunch
break. This routine is about 6 days a week. I also do a lot of street
photography so I’ll take a day off here or there just for photos. I also
photograph my walk to and from the studio every day.

When did you become interested in photography?
I have worked in many different disciplines and actually studied
photography before studying painting. The last decade has been a
very slow convergence of all of these disciplines into new bodies of
work. You can also see my photography at @john_wentz_photo

How would you describe your style, and where does your inspiration
come from?
I describe my style as process and material oriented. Others have
described it as “unfinished” or “impressionistic.” My inspiration
comes from early cave art, the science of vision and just the question
of why humans make art. I’m interested in how we see and how the
brain perceives the world around us. This, coupled with the why
humans began to make art, is what motivates me everyday. The core
of my practice is exploration and discovery. If this can tap into an
emotion then, for me, it is art.

What has been the most challenging project you have worked on so
far?
Each solo exhibition is a greater challenge than the last. For example,
I just finished an exhibition in February at Hashimoto Contemporary
in San Francisco. I want each body of work, each exhibition to be
different from the last. Personally, it has to move forward and grow
but still maintain a cohesive dialogue with my audience.

Can you describe your working process?
I generally prefer to paint on wood panel and do not prime or cover
the wood grain with a solid coat of gesso or acrylic paint. I first draw
a grid in graphite which I use for placement. From start to finish, my
main concern is composition. I almost work like a graphic designer
in this sense. Once the grid is on, I will sketch the subject trying to
maintain a balance between gesture and careful line work. I then use
a an acrylic matte medium to seal the drawing but it also works as a
prime for the surface. Two coats generally does the trick.

Once that is fully dry, I dive straight into the painting. I have three
means of getting the paint on the canvas: 1. Brush, which is the bulk
of the work. 2. Palette knife 3. Printmaking brayer which is mainly for
the background.

The whole time I am working I try to judge the shapes in a very
abstract way. Each mark, each line, every color is composition.
Simultaneously, I’m trying not to be too precious but also making sure
I leave elements of each point of the process visible.

How do you promote your work?
Social media is my main mode of promotion. Instagram is the best
with Facebook leaning towards last. I find Facebook to be less and
less important and fun. I don’t use Twitter any longer. However, I think
the second most important means is through newsletters from my
website. Social media is gradually becoming too much noise for me so

I prefer the quiet of my own website. I also think that interviews such

as these are very important and working with galleries.

Finally, which galleries show your work and do you have any exhibitions

planned for this year?

Hashimoto Contemporary in San Francisco. In October 2019 I will

have a two person exhibition in Dusseldorf, Germany at Pretty Portal

Gallery. There will be much sprinkled in-between but nothing is

concrete yet.

in the paintbox

SENNELIER OIL PAINTS

I use Sennelier paints almost exclusively because they have a

great pigment load and have the perfect consistency straight

from the tube.

MEDIUMS

I keep my mediums very simple. Usually just a mix of linseed

oil, turpenoid & a splash of cobalt drier.

BRUSHES

For brushes I use Raphael and the Utrecht brand.

French Ultramarine Blue

Bonnard Blue

Viridian

Burnt Umber

Raw Umber

Titanium White

Yellow Ochre

Burnt Sienna

Cad Red Light

Terra Rosa

Alizarin Crimson

“In this video workshop, I'll

discuss and demonstrate

my intention and process in

creating a finished portrait

in two sittings. Starting with

what I look for in a model and

a photo reference, I'll discuss

composition and placement

of the head; including various

methods and intentions, how

process and intent can guide

your painting, and exploring

exaggeration in color and value

as methods of expression. In the

second sitting of the portrait,

I'll demonstrate textures and

layering as effects to enhance

what I learned as “impact &

payoff.” From beginning to end,

I'm very much looking forward

to sharing my approach to a

deconstructed portrait.”

NOW AVAILABLE:

John Wentz: "The Deconstructed Portrait in Oils"

Over 6 Hours of Instructional Content

Purchase this workshop online :

http://www.nohwaveacademy.com/products/john-wentz