The still life artist tells Sara Mumtaz about his journey from traditional art to capturing life’s essence, revealing the challenges and passion within his evocative paintings
JUSTIN WOOD ALWAYS FELT DRAWN TO the arts. Disappointed by the absence of traditional drawing and painting skills in mainstream education, he pursued illustration at Syracuse University. Yet, it was artist Jerome Witkin’s figure drawing and painting class that sparked a shift.
He vividly described the drawing and painting sessions focused on nude figures. The immediate connection Justin felt to this form of art, sparked a realisation that this was what he truly aspired to pursue, leading him to attend Witkin’s class regularly. While he had great admiration for many of his illustration professors, it became clear to him that he wasn’t destined to be one such artist himself.
After his graduation, Justin found his artistic compass under Jacob Collins at the Water Street Atelier in New York City, later known as The Grand Central Atelier. Five immersive years and a role as Collins’ studio assistant honed his craft. Transitioning to become a drawing and painting instructor at Grand Central Atelier further cemented his devotion to nurturing artistic talent.
While acknowledging the convenience of photography, Justin avoids relying on it due to its limitations in capturing the nuanced details essential for his vision. For instance, he expresses frustration at how it often clips vital details from lights and darks, while exaggerating value relationships. But he emphasises that his critique of photography isn’t a judgment on artists who work from photographs, because he doesn’t perceive them as inferior. Justin’s artistic journey from realism to canvas reflects a profound blend of conceptual depth and technical finesse.
Now, residing in New York City with his family, he wears several hats, including that of a still life painter, a passionate teacher and online instructor. He champions the essence of painting from life, relishing its inherent demands as essential to his creative process. Describing the challenges faced, Justin highlights the intricacies of drawing a live model in motion or capturing swiftly perishing fruit. Such tasks require a unique mindset, unlike working from static photographs. Converting a three-dimensional subject into a two-dimensional form also requires a profound conceptual understanding, pushing an artist beyond his comfort zone.
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