Focus - about Jai
As an older female tattooist and a white immigrant I mostly fly under the radar, my invisibility allowing me to observe and reflect unobtrusively on my subject. This perspective informs my work, and my interest in society’s shared identity of ‘body’, how identity formation is informed by media and ‘the gaze’ and how these archetypes inform our personal symbolism and sense of self. The individual subject becomes archetype.
As a tattoo artist, the body and the subject (the client) is a given - I base my design and creative process around eliciting and telling the stories of my client, the wearer. I started tattooing in the late 90’s, working in the industry for 6 years before taking a break to have children and pursue my painting and, eventually, my Fine Art degree. On returning to tattooing in 2013 and as a result of my new understanding of of my own artistic practice, I began exploring the performativity of tattooing. How the actions and behaviours of the tattooist during the tattoo implementation process and resulting ‘artwork’ contribute to the formation and understanding of identity and meaning for the wearer.
My focus as tattooist is on the process and act of creation as well as the finished product. My role is to guide my clients through an almost shamanic process of transformation. Lifechanging in even the simplest terms, the process involves blood, pain and art and will leave permanent marks on the participants. As such, the guide or tattooist plays an integral role in the transformation and therefore can have a disproportionate effect on the identity reformation of the client.
My clients are active participants rather than passive observers, they are involved in the creation of their tattoos as narrative drivers and collaborators, and they are also the canvas. Their bodies age and change and the life they lead from the point of the tattoo process is intricately bound to the tattoo. Their life both changes the tattoo through wear and use, and is changed by the tattoo as it becomes part of their own identity and mythmaking.
On an individual level our interactions and understanding of each other is deeply influenced by the archetypal forces that are moving through both social and formal media. In turn, our tattoos both express and influence these shifts. From this the Form and Flow project was born. Each individual work in this project developed differently, they were a response to both what the client revealed to me and also my observations of them.
As a tattoo artist, the body and the subject (the client) is a given - I base my design and creative process around eliciting and telling the stories of my client, the wearer. I started tattooing in the late 90’s, working in the industry for 6 years before taking a break to have children and pursue my painting and, eventually, my Fine Art degree. On returning to tattooing in 2013 and as a result of my new understanding of of my own artistic practice, I began exploring the performativity of tattooing. How the actions and behaviours of the tattooist during the tattoo implementation process and resulting ‘artwork’ contribute to the formation and understanding of identity and meaning for the wearer.
My focus as tattooist is on the process and act of creation as well as the finished product. My role is to guide my clients through an almost shamanic process of transformation. Lifechanging in even the simplest terms, the process involves blood, pain and art and will leave permanent marks on the participants. As such, the guide or tattooist plays an integral role in the transformation and therefore can have a disproportionate effect on the identity reformation of the client.
My clients are active participants rather than passive observers, they are involved in the creation of their tattoos as narrative drivers and collaborators, and they are also the canvas. Their bodies age and change and the life they lead from the point of the tattoo process is intricately bound to the tattoo. Their life both changes the tattoo through wear and use, and is changed by the tattoo as it becomes part of their own identity and mythmaking.
On an individual level our interactions and understanding of each other is deeply influenced by the archetypal forces that are moving through both social and formal media. In turn, our tattoos both express and influence these shifts. From this the Form and Flow project was born. Each individual work in this project developed differently, they were a response to both what the client revealed to me and also my observations of them.
The portrait project - for the grant application
Overview
why the tattoos
Tattoos serve as powerful symbolic placeholders within any given culture, encapsulating deep-seated archetypal figures that inhabit the collective subconscious. These archetypes, which may include representations of strength, resilience, identity, or spirituality, draw from shared cultural myths, legends, and values. Tattoos translate these abstract concepts into visible, tangible forms, allowing individuals to physically embody and display these universal themes on their skin. As such, tattoos become more than just personal expressions—they act as cultural signifiers that communicate broader societal narratives.
In the digital age, where social media and advertising dominate visual culture, tattoos have taken on an amplified role in representing these archetypes. They frequently surface in advertisements, fashion, and online platforms, where they are used to evoke emotional connections, signify authenticity, or tap into the collective ideals of a target audience. Through this widespread visibility, tattoos reinforce and perpetuate the archetypal figures that they represent, making these symbols not just a matter of personal significance but a part of the broader cultural dialogue. In this way, tattoos reflect the underlying values and narratives that shape collective identity, allowing the subconscious elements of culture to emerge and influence public perception and social trends. Why the artifact
A totem or artifact created by an artist can serve as both a product of inspiration and a catalyst for further artistic exploration. When an artist generates a totem or artifact, it encapsulates specific ideas, emotions, or narratives, acting as a tangible representation of the conceptual groundwork. This initial creation provides a concrete starting point from which a more expansive artwork, such as a painting, can emerge. The process of developing both the totem and the subsequent painting allows the artist to distill and refine their exploration of themes, ideas, and emotions. The dual nature of this process—first creating the totem and then the painting—enables the artist to delve deeper into their concepts, as the totem informs and enriches the final artwork, while the painting further elaborates on the artifact's symbolic significance.
For the audience, this layered approach offers multiple entry points into the artwork's meaning. The totem or artifact invites initial contemplation, grounding the viewer in the artist's conceptual world, while the painting expands on that foundation, offering a broader and more nuanced narrative. This duality encourages viewers to engage with the artwork on multiple levels, sparking their imagination and allowing them to draw their own connections and insights. The interplay between the totem and the painting transforms the artwork into a dynamic experience, where the viewer's imagination can take flight, exploring the layers of meaning embedded within the artist's creative process. When I create a totem or artifact, it serves as both an expression of inspiration and a starting point for further artistic exploration. This initial piece captures the core ideas, emotions, or narratives that I’m exploring, acting as a tangible representation of my conceptual groundwork. From this foundation, I can then develop a more expansive artwork, like a painting, allowing the totem to guide and inform the next stage of creation. This dual process—first crafting the totem and then the painting—helps me distill and refine my ideas, as each piece deepens my exploration and understanding of the themes I’m working with. For those who experience my work, this layered approach offers multiple ways to engage with the art. The totem or artifact serves as an entry point, inviting viewers into the conceptual world I’ve created, while the painting expands on that foundation, offering a broader narrative and more nuanced expression. This duality encourages the audience to interact with the artwork on several levels, sparking their imagination and allowing them to draw their own connections and insights. The interplay between the totem and the painting transforms the work into a dynamic experience, where viewers can embark on their own imaginative journey, exploring the layers of meaning within my creative process. Why the painting
The artist approaches painting as a journey of exploration, where the act of creation becomes a deep dive into the complexities of the human experience. Through each brushstroke, color choice, and composition, the artist unravels layers of emotion, memory, and identity, discovering insights that often reveal themselves only in the process of making the art. This exploration is not just about the final image but also about the unfolding of ideas and feelings during the creative journey. For the artist, painting becomes a means of engaging with and understanding the intricacies of life, capturing moments of introspection, struggle, and revelation.
As the artwork develops, it embodies these explorations, becoming a vessel for the insights gained through the creative process. When viewers engage with the finished piece, they are invited into this journey, experiencing their own reflections and emotional responses. The artwork acts as a mirror, allowing viewers to see aspects of their own humanity within the layers of paint and texture. In this way, the process of painting not only provides the artist with a deeper understanding of the human condition but also offers the viewer a space for contemplation and discovery, creating a shared experience that bridges the gap between creator and audience. |
The paintings
Chief Marketing OfficerMetal surfaces like bronze, copper, and aluminum can be compelling choices for representing or mimicking skin in artwork due to their unique qualities that parallel the characteristics of human skin. These metals possess a natural warmth and subtle luster that can evoke the texture and sheen of skin. Over time, metals like copper and bronze develop a patina, which can symbolize the aging process or the accumulation of experiences, much like how skin changes and tells a story over time. Additionally, the malleability and reflective properties of these metals allow for the creation of rich, layered textures and colors that can emulate the complexity of skin tones and the way light interacts with the human body. By using metal as a canvas, an artist can explore themes of resilience, transformation, and the connection between the physical and the symbolic, drawing a parallel between the enduring nature of metal and the enduring human spirit.
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Form and Flow - The body as Story
"Form and Flow - Body as Story" is a groundbreaking project by renowned tattoo artist Jai Gilchrist, showcasing eight large-scale tattoo pieces. Each tattoo is a unique exploration of the personal narratives of the individual collaborators skilfully reinterpreted by Jai into intricate works of art. Inspired by the traditions of Arabic and Chinese illustration, Jai uses the human body as her canvas, creating tattoos that reveal their detailed story elements from various perspectives, symbolizing the fluid and dynamic nature of personal identity.
Jai Gilchrist’s project transcends traditional tattoo artistry by emphasizing the performative nature of tattoos. The body is not just a canvas but an integral part of the storytelling process, with each piece designed to unfold its narrative as the wearer moves. This approach highlights the intimate connection between art and life and the way tattoos can both express and shape the identity of the wearer.
With 16 years of experience in tattooing, Jai combines technical expertise with a profound understanding of how tattoos influence identity formation. Her work delves into the role of tattoos as expressions and influencers of identity, shaped by archetypal forces present in both social and formal media.
The eight projects featured in "Form and Flow - the Body as Story" were developed through a collaborative process with Jai’s clients. These tattoos are more than visual art; they are deeply personal stories interpreted and illustrated by Jai. Her creative process involves eliciting narratives from her clients and integrating them with her observations, resulting in unique artistic expressions that resonate with both the wearer and the viewer.
This project invites viewers to explore the transformative power of tattoos and their ability to convey complex personal narratives. It challenges the perception of tattoos as mere decoration, presenting them instead as profound expressions of the human experience. Through "Form and Flow - the Body as Story," Jai Gilchrist invites us to see the art of tattooing as a dynamic and meaningful form of storytelling, reflecting the interplay of personal history, cultural influences, and timeless artistic traditions.
In November 2022 Jai gained international recognition via the Best Freehand award at the Rites of Passage Tattoo Festival. Since then she has received smaller sponsorships in the form of mentoring from world-famous tattooist Russ Abbot, marketing mentoring from Foxton Creatives and increasing numbers of international commissions.
Jai Gilchrist’s project transcends traditional tattoo artistry by emphasizing the performative nature of tattoos. The body is not just a canvas but an integral part of the storytelling process, with each piece designed to unfold its narrative as the wearer moves. This approach highlights the intimate connection between art and life and the way tattoos can both express and shape the identity of the wearer.
With 16 years of experience in tattooing, Jai combines technical expertise with a profound understanding of how tattoos influence identity formation. Her work delves into the role of tattoos as expressions and influencers of identity, shaped by archetypal forces present in both social and formal media.
The eight projects featured in "Form and Flow - the Body as Story" were developed through a collaborative process with Jai’s clients. These tattoos are more than visual art; they are deeply personal stories interpreted and illustrated by Jai. Her creative process involves eliciting narratives from her clients and integrating them with her observations, resulting in unique artistic expressions that resonate with both the wearer and the viewer.
This project invites viewers to explore the transformative power of tattoos and their ability to convey complex personal narratives. It challenges the perception of tattoos as mere decoration, presenting them instead as profound expressions of the human experience. Through "Form and Flow - the Body as Story," Jai Gilchrist invites us to see the art of tattooing as a dynamic and meaningful form of storytelling, reflecting the interplay of personal history, cultural influences, and timeless artistic traditions.
In November 2022 Jai gained international recognition via the Best Freehand award at the Rites of Passage Tattoo Festival. Since then she has received smaller sponsorships in the form of mentoring from world-famous tattooist Russ Abbot, marketing mentoring from Foxton Creatives and increasing numbers of international commissions.
Curbar Ridge Association of Artists and Painters - C.R.A.A.P.
Jai's initial interest in identity formation was sparked during and after completing a Fine Art degree when she grappled with her own identity as a painter, artist, and mother. In her first year, Jai staged a performance in which she assumed a new identity and name, which she 'wore' throughout the following three years. This journey culminated in a residency at Surface Gallery in Nottingham and the creation of the Curbar Ridge Association of Artists and Painters (C.R.A.A.P), a fictitious group of artists supposedly living and working around the Peak District of Curbar.
C.R.A.A.P was conceived by Jai to explore the role of online identity in shaping an artist’s oeuvre. Over the next six years Jai created seven different artists within this group, establishing physical artworks, a website, and social media pages for each. Each artist had a distinct style and form of work, ranging from performance to painting to narrative, and each had their own history and stories implied through social media interactions and the website's history. The group exhibited together at several real-life exhibitions, where Jai hired actors to portray the artists and interact with the audience during open evenings. In most cases, even the gallery owners were unaware of the fictitious nature of the artists.
C.R.A.A.P was conceived by Jai to explore the role of online identity in shaping an artist’s oeuvre. Over the next six years Jai created seven different artists within this group, establishing physical artworks, a website, and social media pages for each. Each artist had a distinct style and form of work, ranging from performance to painting to narrative, and each had their own history and stories implied through social media interactions and the website's history. The group exhibited together at several real-life exhibitions, where Jai hired actors to portray the artists and interact with the audience during open evenings. In most cases, even the gallery owners were unaware of the fictitious nature of the artists.
Exhibition credits for C.R.A.A.P.
2017 April - Intervention by Fairytale - Anand installation at the Yorkshire Sculpture Park
2014 Nov - Breaking the Fourth Wall, Byron Cinema and Fresh Meat Collective, CRAAP represented by Jet Guthrie, James Gillert and Miss Diana Rex.
2013 Aug - Intervention by Fairytale -The Three Pips, Sydney Bienalle Festival Arts , CRAAP represented by Jet Guthrie.
2013 Jun - Intervention by Fairytale - Into the Woods, Byron Festival Hucknall, CRAAP represented by Jet Guthrie.
2012 Nov - It Is Allways Happening Outside of the Frame, curated by No Official Name, The Crocus Gallery Nottingham, CRAAP represented by June Gillert, Dianna Rex and Jet Guthrie.
2012 May – Modern Maddonas, St Georges Arts, Esher, Surry. CRAAP represented by Jet Guthrie and June Gillert
2011 Sept – Nov Platform Residency and Exhibition at Surface Gallery, Nottingham. CRAAP represented by Stella Jacks, John Siddall and Lucy Stone.
2009 Jun - Winner of the Healthcare and Bioscience INet Art Competition won by June Gillert
Members of C.R.A.A.P have also sold work through DegreeArt, London and Saatchi Online Gallery as well as at local art galleries in Nottingham, Leeds and Lincoln
2014 Nov - Breaking the Fourth Wall, Byron Cinema and Fresh Meat Collective, CRAAP represented by Jet Guthrie, James Gillert and Miss Diana Rex.
2013 Aug - Intervention by Fairytale -The Three Pips, Sydney Bienalle Festival Arts , CRAAP represented by Jet Guthrie.
2013 Jun - Intervention by Fairytale - Into the Woods, Byron Festival Hucknall, CRAAP represented by Jet Guthrie.
2012 Nov - It Is Allways Happening Outside of the Frame, curated by No Official Name, The Crocus Gallery Nottingham, CRAAP represented by June Gillert, Dianna Rex and Jet Guthrie.
2012 May – Modern Maddonas, St Georges Arts, Esher, Surry. CRAAP represented by Jet Guthrie and June Gillert
2011 Sept – Nov Platform Residency and Exhibition at Surface Gallery, Nottingham. CRAAP represented by Stella Jacks, John Siddall and Lucy Stone.
2009 Jun - Winner of the Healthcare and Bioscience INet Art Competition won by June Gillert
Members of C.R.A.A.P have also sold work through DegreeArt, London and Saatchi Online Gallery as well as at local art galleries in Nottingham, Leeds and Lincoln
June Gillert
June was the first of Jai's ficticious characters and originally stemmed from her need to find a different identity whilst she was studying at University. June 'existed' for three years and during this time all of Jai's friend's and aquaintances knew her as June. Consequently June's work was initially driven not by her role as a character, but by Jai's own creative process. In the end however, June developed her own life in the Hope Valley and eventually passed away in 2020. Her passing was marked on the C.R.A.A.P. website by her son James.
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Jet Guthrie
Jet Guthrie, a mixed-media and performance artist who graduated from Southampton University in 1993, has developed a unique and compelling practice centered on the rich, symbolic world of fairy tales, with a particular focus on the concept of liminality—the threshold between the familiar and the fantastical. Her work intricately explores the delicate veil between the past and the present, using the universal language of fairy tales to uncover profound human truths and to captivate audiences in unexpected ways.
Jet’s artistic practice is characterized by her specialized interventions in urban landscapes and gallery spaces. She crafts stories that are revealed gradually, paragraph by paragraph, printed on luggage tags and discreetly placed in everyday environments. Her work can be discovered hanging from trees, attached to public bins and railings, slipped alongside clothing labels in high street stores, and occasionally within galleries or churches. These hidden fragments of narrative invite serendipitous discovery, transforming ordinary spaces into portals to the extraordinary. Jet has also brought her distinctive approach to formal gallery settings, with directed performances at Crocus Gallery and recorded voice installations at the Fresh Meat Collective Exhibition and the Modern Madonnas exhibition. However, her most exhilarating works have been her disruptive gallery interventions, such as the "Intervention by Fairytale" at the Yorkshire Sculpture Park in 2017 and the Sydney Biennale Festival in 2013. During these interventions, Jet anonymously installed thousands of luggage tags hanging from trees overnight, each tag bearing a paragraph of a fairy tale crafted specifically for the location. These surprise artworks invite viewers to engage with the liminal spaces between reality and imagination, leaving them to ponder the deeper truths hidden within the whimsical narratives. Jet Guthrie’s work is a continuous exploration of the boundaries between the real and the imagined, inviting audiences to step into a world where the mundane is transformed into something magical, and where every found story offers a glimpse into the liminal spaces that exist all around us. |
Dianna Rex
Miss Dianna Rex's work is a profound exploration of the physicality of paint, where the medium itself becomes as central as the landscapes and portraits she depicts. This focus on texture and materiality can be traced back to a childhood illness when long hours confined to bed led her to discover parallels between the peeling layers of paint and grime on her bedroom walls and the vivid strokes of the French Impressionists, as seen in a book she was given during that time.
After earning her degree in art from Dartington College of Art in 2003, Dianna developed a body of work that pushed the boundaries of conventional painting. She began painting on unconventional surfaces, treating the paint in ways that highlighted the objecthood of both the painted surface and the body as object, creating a dialogue between the physicality of the paint and the subjects it portrayed. During this period, she employed the Oblique Strategies cards, devised by Brian Eno and Peter Schmidt, to introduce randomness and challenge into her creative process, allowing these external prompts to shape her artistic decisions. Street art influenced Dianna’s work post-graduation, but in a unique way. Her distressed and textured pieces became part of the urban landscape in Derby, subtly integrated into subways and pedestrian bridges. These works were so finely attuned to their surroundings that they almost disappeared, merging with the environment in a way that blurred the lines between art and the everyday. Since relocating to a rural setting, Dianna has continued to evolve her practice, viewing herself as a conduit or cartographic link to a primal landscape that exists both within us and in the collective memory of the natural world around us. Her work now bridges the internal and external landscapes, capturing the echoes of nature’s textures and forms while continuing to explore the deeply physical nature of paint itself. Through her art, Dianna invites viewers to reconnect with the primal, tactile experiences of both the natural and the constructed worlds. |
James Gillert
James Gillert, a Nottingham Trent University graduate, began his creative journey with a unique approach to sculpture, constructing pieces from metal scraps collected during walks around the city, guided by entries in the periodic table. This psychogeographical method reflected John’s early interest in how environments and materials intersect to create meaning. After relocating to London, John's practice evolved significantly. He transitioned from three-dimensional sculptures to creating images on aluminum, initially working with charcoal and later incorporating layers of pencil, paint, and engraving. His subject matter often draws on his memories of growing up in Curbar, but as his work matures, it increasingly reflects a more contemplative and observational approach. John's current work is marked by this evolution, showcasing a deepening engagement with the subtle details of life and landscape. His pieces, rich with texture and layered techniques, invite viewers to explore the complex interplay of memory, place, and material. |
John SiddallJohn Siddal, born in Australia in 1963 and relocated to the UK in 1974, has cultivated a rich artistic practice that draws deeply from his experiences and memories. His early fascination with photography shaped his academic work in Sheffield and laid the foundation for his career in photojournalism. Since moving to the Peak District in 1997, John has transitioned into a dual role as a part-time lecturer and painter. His painting, characterized by a naïve yet sophisticated style, delves into the interplay of memory, myth, and archetype, exploring these themes within a fictive and fluid reality.
John’s work is deeply personal, often drawing imagery from his memories of Australia and examining how performative myth-making reimagines the present. His earlier works, profoundly influenced by the death of his daughter in 2006, revolved around the theme of Death and the Maiden, earning acclaim for their raw and incisive critique of contemporary media culture. More recently, John has turned his focus to Sydney Nolan’s iconic paintings of Ned Kelly, the Australian outlaw whose mythos has embedded itself in the nation’s cultural subconscious. Through his reinterpretation of Nolan’s inspiration, John questions the reality of fictional narratives, creating a Möbius loop of feedback that challenges viewers to reconsider their perceptions of history and myth. |
Stella Jacks
In Stella Jack's universe, the canvas is not merely a surface but a vast expanse where emotion and landscape converge in a dynamic interplay of color and form. Stella engages with her art physically, channeling her whole being into each stroke, each splash of vibrant hue that orchestrates the mythical terrains she envisions. Her large canvases serve as realms where glowing colors create not just scenes but sensations, enveloping the viewer in an almost tangible atmosphere of shifting moods and narratives.
The essence of her work lies in the creation of ethereal landscapes populated by drifting, blank figures—youthful boys and girls who, caught in a liminal slumber, emerge from the depths of the paint. These characters do not confront the viewer with gazes but rather invite them to enter the dream-like realms and wander alongside them. This subtle invitation transforms the act of viewing into an act of experiencing, pulling the observer into the painted world where the boundaries between the real and the imagined blur. Her series, "Portraits of Dark," delves deeper into the complexities of human emotion and the darker corners of human experiences. Each piece in this series begins with a hidden layer—a stark, haunting image derived from news photographs that capture moments of loss, suffering, pain, and fear. These foundational images are then veiled under layers of paint, soot, glass, and sometimes thorns, creating a textured surface that both obscures and intrigues. This tactile facade is not merely decorative but a barrier that the viewer must transcend, both visually and emotionally, to confront the underlying horrors. Through her art, Stella seeks to evoke a visceral response from her audience, urging them to not only see but also feel the layers of meaning within each piece. The interplay of intense colors enhances the transformative experience, guiding emotions from the serene to the disturbed. Her paintings are spaces for reflection—on beauty, tragedy, and the profound resilience of the human spirit. This journey through painted landscapes and obscured truths is her invitation to viewers: to explore, to feel, and to discover the profound narratives that lie beneath the surface, compelling us to acknowledge and confront the complexities of our existence. |
Lucy Stones
Lucy Stones, originally celebrated for her work inspired by the landscapes of Hope Valley, has continuously evolved as an artist, revealing new layers of complexity and boldness. A pivotal show in 2011 marked a significant shift in her work, showcasing a deep fascination with sexuality and its objectification. These multi-layered pieces provoke thought and invite questions—are they autobiographical, expressions of Lucy’s fantasies, or a critique of the sexualized imagery pervasive in modern society?
Now 80 and retired to the Peak District after a career as a librarian in Yorkshire, Lucy's work reflects her ongoing exploration of the aging process, both literally and symbolically. Her unflinching focus on sexuality remains central, challenging audiences with the raw intensity of her depictions, reminiscent of a pornographic home video. Yet, the duality of Lucy’s role as both the artist and subject adds a twist that disrupts conventional views of sexuality and shock. The stark honesty in her work has often proven provocative, even overwhelming, for some viewers. Lucy’s art is part of private collections in France and the Netherlands, and she is planning an exhibition in Europe in the near future. In her latest works, Lucy has embraced a candid approach to her financial motivations, openly addressing the necessity for her art to be profitable. Recent pieces incorporate collage elements that document the financial realities of her practice, including actuarial tables that starkly outline her life expectancy. Lucy Stones continues to push boundaries, both personal and artistic, in her fearless examination of life, sex, and survival. |