Willow Wells: Complex Dynamics

Willow Wells won the Intaglio Award in Jackson’s Art Prize this year with her work Resonance. In this interview, Willow discusses her traditional printmaking processes, how handmade sketchbooks help her to focus, and how simple tools are all that are needed to generate new ideas.

Resonance, 2023
Willow Wells
Etching print on paper, 36.5 x 45.7 cm | 14.3 x 17.9 in

Josephine: Could you tell us about your artistic background?

Willow: I started studying fine art in high school, and have always gravitated toward the figure and representational artwork. I pursued this interest at Lyme Academy College of Fine Arts in Old Lyme, Connecticut, where I honed traditional techniques while exploring conceptual themes of horror and metamorphosis, delving into the complex dynamics of intimate relationships.

After graduation, I shifted my focus to themes of femininity and the connections between women. In graduate school at the University of South Florida, I aimed to refine my concepts and develop a clear visual language. Although I faced challenges during the first few years, I ultimately thrived in my final year, having the honour of working with Graphicstudio, a professional print shop affiliated with USF. It was at Graphicstudio that I had the opportunity to collaborate with printmaker Tim Baker on my piece Resonance.

Josephine: What does a typical working day in the studio look like for you? Do you have any important routines or rituals?

Willow: Unfortunately, I am pretty scattered and can’t stick to any routine, though I have tried. But I plan around that. I intentionally set up multiple projects at once that use different aspects of my attention.

I usually have a setup for a painting, a drawing, and a print. I am still in the early stages of my career and trying to find what works best for me. Every day is different but I make sure to always be doing something related to my art practice.

Josephine: Which materials or tools could you not live without?

Willow: Paper and a pen, you can express endless ideas through these basic materials. As long as I can draw I am content.

Josephine: Do you employ any unique techniques in your printmaking process?

Willow: I’m pretty plain Jane when it comes to the way I use printmaking and other traditional processes. I love the process of etching, painting, and drawing for what it is. My main concentration is on what that process can do for my work and to develop imagery that can be supported by the process, rather than bending the process to support the work

Josephine: Do you regularly draw or keep a sketchbook? If so, how does this inform your work?

Willow: I absolutely keep a sketchbook! I love collecting handmade sketchbooks, though I had to stop because I am a bit slow going through them. As mentioned earlier I have a hard time focusing, so I do everything I can to make it hard to avoid making artwork. My main sketchbook at the moment is small and fits right into my purse. I take it everywhere with me.

I try not to be too strict with my sketchbook, I usually let myself just freely draw whatever comes to mind. That makes it perfect for developing new ideas or working out ones that have been sitting in my head for a while. There have been lucky times when I sketch something, then it inspires me to create a more complex and refined artwork based on it. But sometimes I am just exhausting bad ideas and clearing them out to make room for better ones.

Josephine: Have you ever had a period of stagnation in creativity? If so, what helped you overcome it?

Willow: I spent seven years at university studying art and will be paying off my loans for the rest of my life. I can’t afford to be stagnant. My work is too time-consuming and I am not where I strive to be both professionally and skill-wise. I do not allow myself to have any excuses. Whenever I can feel myself trying to procrastinate I have to reevaluate my priorities and catch myself before I get lazy. It took years to find what works best for me. I arrange my life to be consumed by art and to always be doing something related to art and art-making.

Josephine: Are there any specific artists or mentors who have inspired you?

Willow: Having access to the amazing facilities at Graphicstudio and being mentored by Tim Baker helped to expand my printmaking practice. He helped to guide me through processes that I was not fully familiar with aquatint, steel plating, and how to get a perfect registration. It was also the first time I had space to focus on developing a singular piece without the pressure to produce multiple artworks within a short time. Being able to work with Tim Baker at Graphicstudio made it possible for me to pull off the etching Resonance.

Josephine: How did it feel to realise you had won the Intaglio award?

Willow: Winning the Intaglio Award was an incredible experience. It felt like a significant milestone in my artistic journey, affirming that my hard work and dedication are paying off. Each piece of art demands immense time and energy, and Resonance, in particular, was the result of months of persistent effort. This award not only validates the effort I put into my work but also inspires me to continue pushing the boundaries of my creativity.

Josephine: Is there a particular narrative associated with Resonance?

Willow: Resonance is influenced by a range of interconnected ideas and symbolic elements. It explores themes such as our relationship with our bodies and the earth, the connections between individuals, and the evolution of these bonds over time. It also delves into the fear of change, natural decay, and the acceptance of death as an intrinsic part of life. These themes are woven throughout my work, with Resonance embodying these concepts through its visual and symbolic elements.

Josephine: Did you experiment with different colours before settling on this colour-way?

Willow: I have experimented with colour so much throughout my artistic career. But for this print, I knew exactly what I wanted. Some of the colours were slightly adjusted after the first two proofs but overall I seemed to know exactly how I wanted it to look. It was a first, but I was relieved when we pulled the proof and I saw everything came together.

Josephine: What’s coming up next for you?

Willow: I’m honoured to have my work featured in the Skyway Exhibition at the Sarasota Art Museum in Florida. This opportunity to showcase my art in a professional space has been incredible, and I’ve greatly enjoyed meeting the curator and fellow artists involved in the exhibition.

This fall, I am also teaching drawing courses at Boise State University. My education has been crucial to my artistic development, and I hope to inspire and challenge my students just as my professors did for me.

Currently, I’m working on a range of projects, including several drawings and distemper paintings. I’m eager to advance my printmaking practice, though I need to find access to a print workshop to pursue this further – hopefully, I can resolve that soon!

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Further Reading

In Conversation with Pete Cole of Gamblin

Jackson’s Art Prize 2024 Exhibition at the Affordable Art Fair

In Conversation With Nicola Coate About Coates Willow Charcoal

Introduction to Mezzotint Printmaking