 "We Hunt the Doe," 42 x 49 inches, oil on linen, 2020, Jamie L. Luoto Throughout my series, I Believe in Ghosts, I reference vanitas — 17th century Dutch still lifes — to draw on the tradition of sharing a moral lesson. Vanitas paintings present an array of objects as symbols to remind us of the transience and vanity of human existence and earthly possessions and pleasures. My modern interpretation of vanitas puts the female figure directly in the composition, exploring transience of innocence, value, and agency relating to female identity. I use symbolism and allusion to convey the tension between objectifying the female body and recognizing the rich interiority of the female subject. Objects have histories, yet are unable to speak them — what does it really mean to treat women as objects? 
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 I'm pleased to share that my 2016 painting, America: She Was Asking For It, was included in an important new book, Not Normal: Art in the Age of Trump. I am one of 147 artists responding to socio-political issues in the age of Trump. While the content is serious, flipping through the pages is cathartic. This powerful collection of 350+ artworks was curated by Karen M. Gutfreund, Independent Curator. Copies of "Not Normal" are available to purchase here.  "America: She Was Asking For It," gouache on paper, 15 x 19 inches, November 2016 America: She Was Asking For It was born in a nightmare I had on the night of the 2016 presidential election. It depicts a revealing portrait of not only America’s elected Head of State but also his wife and Vice President and Mrs. Pence.
A variety of symbols evoke both an immediate visceral reaction, such as the confederate flag, as well as an ongoing discovery of depravity represented as small painted details, such as the pins, that reveal contradictions and hypocrisy. I utilized the bright coloring effects of gouache to capture the flashy tone of media imagery and intentionally made the work small to emphasize the insufficient attention and transitory coverage given to these issues by the media.
 ©Jamie L. Luoto, "America: She Was Asking For It," gouache on paper, 15x19 inches, 2016 Artist's StatementCreated in response to the 2016 presidential election, America: She Was Asking For It, was born from a nightmare and depicts a revealing portrait of not only America’s elected Head of State but also his wife and Vice President and Mrs. Pence.
A variety of symbols evoke both an immediate visceral reaction, such as the confederate flag, as well as an ongoing discovery of depravity represented as small painted details, such as the pins, that reveal contractions and hypocrisy. I utilized the bright coloring effects of gouache to capture the flashy tone of media imagery and intentionally made the work small to emphasize the insufficient attention and transitory coverage given to these issues by the media. The piece is floated atop an abyss-like, black velvet, to create an effect like that of a digital screen, and finally encased in a tarnished frame, as if it is a dangerous artifact, warning of possible future outcomes. I'm eager to present my newly painted animal portraits. Although this series has always focused on individuality, in previous years the works have thematically centered around locations, such as Sonoma County or the Arctic. This year is a little different because I focused on female identity as I developed three portraits of North American animals - Bald Eagle, Mountain Lion, and Black Bear. When human women are depicted as strong it is almost always along with sex appeal - the "strong and sexy” cliche - as if female strength and capability are synonymous with sex appeal. The bald eagle, mountain lion, and black bear are all seen as strong animals, at the top of the food chain. When we encounter one we don’t automatically make assumptions about the animal based on its gender. We appreciate their strength, beauty, power and ferocity. We marvel at the amazingness of both female and male animals, never questioning their abilities, motives, or intelligence based on gender. So why do we tolerate and accept the gender limitations we impose upon ourselves as humans? By anthropomorphizing these female animals, and giving each a unique identity, I seek to question why our society often struggles to present strength, intelligence and beauty without sexual undertones.  ©Jamie L. Luoto, "Bald Eagle," gouache on paper, 14x11 inches, May 2018  ©Jamie L. Luoto, "Mountain Lion," gouache on paper, 14x11 inches, June 2018  ©Jamie L. Luoto, "Black Bear," gouache on paper, 14x11 inches, June 2018 I'm honored to be included in Persistence, an exhibition at the Museum of Northern California Art celebrating and recognizing women artists. "Persistence" has become a byword for women standing up and I'm passionate about promoting the work of female artists past, present, and future. This was my kind of exhibition.
 Opening Reception for "Persistence" at the Museum of Northern California Art Identity Spectrum |
Two of my paintings will be shown in Chico, California at the Museum of Northern California Art, as part of an all women exhibition, highlighting works relating to Persistence.
Persistence
May 31 -July 15
Museum of Northern California Art
900 Esplanade
Chico, California
Museum Hours:
Thurs-Sunday: 11:00am - 5:00pm
Persistence
May 31 -July 15
Museum of Northern California Art
900 Esplanade
Chico, California
Museum Hours:
Thurs-Sunday: 11:00am - 5:00pm
To Be Heard
at the
Old Courthouse Art Center
©Jamie L. Luoto, "America: She Was Asking For It," gouache on paper, 15x19 inches, 2016
I painted, America: She Was Asking For It immediately following the 2016 U.S. presidential election. A limited edition (edition of 10) print of this work was exhibited and sold at the first Nasty Women exhibition in NYC, 2017. 100% of the proceeds went to Planned Parenthood.
America: She Was Asking For It will be shown in Woodstock, Illinois at the Old Courthouse Arts Center, as part of what the organizers describe as "[an] exhibition [that] focuses on controversial artwork and the power artists have to highlight issues and social causes. This exhibition is an exercise in freedom of speech. The artwork in this exhibition takes a strong moral stance that either depicts intensely personal experiences or reflects and comments on society at large. Some of the work in this exhibition has been censored, or, by nature of the subject matter would be considered illegal in some countries. Art has the power to evoke strong opinions and challenge the viewer to think about a social issues in a new way. We hope you'll join us to engage in different perspectives on hot-topic social issues opening night!"
To Be Heard
June 2 - 30
Old Courthouse Arts Center
101 N. Johnson Street
Woodstock, Illinois
Gallery Hours:
Thursday: 11:00am - 5:00pm
Friday–Saturday: 11:00am - 7:00pm
Sunday: 11:00am - 5:00pm
Monday–Wednesday: gallery is closed
America: She Was Asking For It will be shown in Woodstock, Illinois at the Old Courthouse Arts Center, as part of what the organizers describe as "[an] exhibition [that] focuses on controversial artwork and the power artists have to highlight issues and social causes. This exhibition is an exercise in freedom of speech. The artwork in this exhibition takes a strong moral stance that either depicts intensely personal experiences or reflects and comments on society at large. Some of the work in this exhibition has been censored, or, by nature of the subject matter would be considered illegal in some countries. Art has the power to evoke strong opinions and challenge the viewer to think about a social issues in a new way. We hope you'll join us to engage in different perspectives on hot-topic social issues opening night!"
To Be Heard
June 2 - 30
Old Courthouse Arts Center
101 N. Johnson Street
Woodstock, Illinois
Gallery Hours:
Thursday: 11:00am - 5:00pm
Friday–Saturday: 11:00am - 7:00pm
Sunday: 11:00am - 5:00pm
Monday–Wednesday: gallery is closed
From blank canvas to a semifinalist in consideration for the 2018 BP Portrait Award; this is the journey of my piece from creation to London and a behind-the-scenes look at my artist life.
Last year, I specially made time over the summer to explore new themes in my portraiture. One hot June evening, I glanced at myself in the mirror and something about the lighting, angle, and mood created an intense inspiration to paint a large self portrait related to my experience as a female. So began my two month journey creating Reduction (Self Portrait).
As I began work on my portrait, I had two goals in mind:
Last year, I specially made time over the summer to explore new themes in my portraiture. One hot June evening, I glanced at myself in the mirror and something about the lighting, angle, and mood created an intense inspiration to paint a large self portrait related to my experience as a female. So began my two month journey creating Reduction (Self Portrait).
As I began work on my portrait, I had two goals in mind:
- Create a work representative of my experience as a woman and artist.
- Create a portrait I felt was worthy of submitting to the BP Portrait Award.
Scale. © Jamie L. Luoto, "Reproduction (Self Portrait), " oil on canvas, 48x36 inches (Detail in progress.), August 2017.
This piece was challenging to create because its meaning existed within me as a collection of memories, experiences and feelings, rather than something easily articulated. In the early stages of my portrait, I came across a poignant quote by John Berger in Ways of Seeing: "Men act and women appear." My mind went to years spent studying art history and the lack of female representation in Western art as it is taught in school and books. Most nudes are female, but most painters of them are male. The male gaze has dominated our understanding and formed our conception of not only the female form, but of a woman’s value, role within society and view of self. I wanted to challenge this.
In process at my studio in Healdsburg, California. ©Jamie L. Luoto, "Reproduction (Self Portrait), " oil on canvas, 48x36 inches, August 2017.
My self portrait presents myself in many ways, including: one view of me looking outward directly at the viewer, and another, my reflected figure contained in an antique gilded mirror. My face, turned out to confront the viewer, is active; my reflected figure is passive. My piece takes on the complexity of subjectivity and objectivity, suggesting and provoking many layers of understanding of the relationships between viewer, artist, and object.
Winsor & Newton Artists' Colour: titanium white, cadmium lemon + cadmium yellow, alizarin crimson + cadmium red, french ultramarine + cerulean blue
I used a limited palette of colors because I wanted to focus on the subject matter. This created simplicity and harmony on my canvas. I used warm and cool representations of each primary color, plus titanium white for tinting and toning.
glass palette covered in oil paint
From more than 7 weeks I obsessively toiled over my painting. Translating my gut feeling into a composition that articulated my experience both as a woman and an artist proved to be a difficult journey that consumed my every waking moment. Furthermore, I had never painted myself at such a large scale, and the concept was complex. It was hard to put my brushes down finally and declare it done because I am a perfectionist and I knew this was one of my most important paintings to date.
I documented the work on the day of the eclipse, August 21, 2017, only it was overcast so there was nothing to see in the sky. However, the overcast conditions made for excellent lighting to document my painting. A short while after photographing the work, I applied to the 2018 BP Portrait Award, but I didn't tell anyone I had applied because it's such prestigious competition, literally the show for the best contemporary portraits in the world, run by the UK's National Portrait Gallery.
I documented the work on the day of the eclipse, August 21, 2017, only it was overcast so there was nothing to see in the sky. However, the overcast conditions made for excellent lighting to document my painting. A short while after photographing the work, I applied to the 2018 BP Portrait Award, but I didn't tell anyone I had applied because it's such prestigious competition, literally the show for the best contemporary portraits in the world, run by the UK's National Portrait Gallery.
Documenting "Reduction (Self Portrait)" behind my studio on our 100+ year old barn
Fast forward to February 9th, 2018 when just as I was checking my phone before heading to my studio to work I saw the word "congratulations"! It was notification that my painting was one of 215 portraits (out of 2667) selected by the curators at the National Portrait Gallery to travel to London for consideration for the exhibition. I was instantly floored-bouncy-hyper-happy-stunned and then after my brief celebration I realized I had about 2 weeks to:
- Frame my portrait
- Acquire a shipping crate made of the right kind of wood (or else bad things happen)
- Arrange to somehow get my BIG painting to the U.K., through customs and delivered within a 5 day window (or else I'm just straight up eliminated)
- and figure out the insanely complicated, ill instructed, bureaucratic paperwork required for temporarily exporting/importing artwork
My first look at my framed painting! ©Jamie L. Luoto, "Reproduction (Self Portrait), " oil on canvas, 48x36 inches, August 2017.
Not long after I received the good news, and by not long I mean that same morning, I was off to my framer, Hammerfrier. We looked at frame options, but there was only one clear choice and by some miracle we were able to do the impossible; frame up Reduction (Self Portrait) in a beautiful custom gilded frame in a week's time (it should've taken 4+ weeks minimum). The frame was made on the east coast, and shipped west in a crate that was perfect for sending my painting abroad as well. Whew! Thank you so much to Charly and Glenn at Hammerfrier for all your work and support!
©Jamie L. Luoto, "Reproduction (Self Portrait), " oil on canvas, 48x36 inches, August 2017.
After much research I decided to work with FedEx Air Freight. I had a background check for homeland security purposes while setting up my account and then was set to go... filling out a number of forms, applying for licenses, etc... I was both excited and nervous when FedEx arrived - it was scary to hand over my painting, and I had never shipped such a large piece with such a tight window for delivery. Everything was moving along perfectly as I tracked my painting's progress from Healdsburg to Oakland to Memphis and then Stanstead Airport in the UK and then... it just stayed there for hours and then days. I was held up in customs, but after a number of middle of the night calls to the U.K. everything was squared away and my work made it with two days to spare!
 Preparing to pack my painting with documents |  Sealing my 120 pound crate with some 30+ screws |  FedEx Air Freight arrived to pickup my crate destined for London |
I had to wait until March 9th to find out the results, and it turned out that I was not one of the 48 works selected to exhibit this year, but I'm not feeling too shabby because it is a HUGE honor to have been a finalist and considered by the museum curators - wow. Byron and I celebrated the news straight away with champagne at 6:30am - I'm really proud of my painting, Reduction (Self Portrait), and happy that myself and my painting had such an outstanding opportunity.
"POP" and cheers!
P.S. I was successful in bringing home my painting too - it just arrived in ship-shape and Bristol fashion on Friday!
I created this space to showcase my past work, chronicle my current projects, and share my inspiration.
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