The Show

Meet the Artists

Your Portraits

Jim Bourke explains the ancient wax-based medium originally used by the Egyptians.

SP: How would you describe your work to someone who hasn't seen it before?

JB: (laughs)

SP: We'll start with a hard one…

JB: Yes, let's just get right into it here. Basically, I'm a figurative painter but my paintings look more expressionist and fairly gestural.... especially with the encaustic medium. So, that is probably the easiest way to explain it.

SP: Explain the process of encaustic.

JB: It's an ancient wax-based medium originally used by the Egyptians. It’s been gaining in popularity in recent times, - probably since Jasper John started using it back in the early sixties. Instead of the oil being the medium, which is pigments mixed with oil, wax becomes the medium - it's basically pigments or, in my case, oil paints mixed directly into the molten wax.

SP: Is there a reason you prefer this medium?

JB: I think it is because of the gestural quality - and this wonderful ability to freeze the gesture. It's got a time quality and I cannot think of another medium having that. If you were trying to do the same thing with oil paints, a quick gesture would have to set for a day or two, whereas wax holds it in that immediate second.

SP: When did you decide you wanted to become a professional artist?

JB: Oh god, I've been at it since I was five years old.  Like most visual artists I have to supplement my income. In my case I work as an exhibit designer in a gallery

SP: What gallery are you working at?

JB: I work at the Art Gallery of Ontario.  You can probably count on one hand the people in Canada that are able to make a living from the sales of their artwork. Most of us have to do something else.  So, in my case, I am really lucky.  I actually get to work in an environment surrounded by amazing artwork.

SP: You have exhibited in numerous solo and groups shows. Is there difference between the two?

JB: My last show would be the best one to go on. I painted a series that ties into what Star Portraits is all about. The last show was a portrait exhibition of large works, four feet by four feet, grouped into a series of three. I was playing with the idea of how we age and how we deal with aging. I used myself as a subject and did two or three self-portraits.  I also used my wife and friends. Basically, I asked them to pose by putting their hands on their face and adjusting what they thought needed to be adjusted.

SP: Do you find a difference between painting someone you know versus someone you have never met before?

JB: Yes. If you know someone there is a certain comfort zone.  You are bringing more of that life experience that you know about the person. It's funny - when I was painting Gordon, I only knew the celebrity persona.  With such short time it had to it had to be the celebrity that I painted. With friends it is certainly different because you know them privately. You have a deeper connection and that affects the work.

SP: Is there a method you use to understand your subjects better?

JB: If I have the opportunity to spend more time with the subject it's great. There is a communication with drawing that doesn't happen when you photograph somebody. The sitter is more aware of being photographed - every gesture they make, they know could be frozen. They tend to be very self-conscious. Drawing and painting is a much longer process. The subject sort of eases into it and becomes comfortable.  In a normal commission I would certainly do a series of sketches and drawings, plus photography. Ultimately I do depend on the photograph, or actually a series of photographs.  The apparatus for encaustic is too cumbersome to have somebody sit while I paint.

SP: Who do you generally use as your subjects?

JB: I abuse my friends.

SP: Do you find there is more pressure when painting commissions?

People have a perception of what they look like. It's funny what people expect you to paint.  They like your work - they want you to paint a portrait because they like your work. Because my work tends to be a little more expressionistic and interpretive, they might want it cleaned up a bit, perhaps a little less honest. Sometimes I find myself holding back, a little more cautious when painting a commission. If I'm painting a friend there is an inherent trust. This allows me to push the portrait a little bit further. Both have their own particular challenges.

SP: How was your experience on Star Portraits?

JB: I loved it.  It was a lot of fun.  I’m used to painting in private, so the performance aspect was a little surreal, but the crew was fantastic and made everyone feel very comfortable. I was really lucky Gordon Pinsent was the sitter.

SP: He was very entertaining.

JB: He's a lovely man and an incredible storyteller. He has a wonderful and expressive face.

SP: Where do you see yourself in the future with your art?

JB: I think with most artists, the ultimate goal is to be able to produce art full time, rather than spending a good portion of your day making a living. Ultimately, that would be the greatest thrill for me. I am getting closer as I get older, and the sales are getting a little more consistent.

Artist Stats

Jim Bourke is a figurative painter who works primarily in encaustic. He studied fine arts at York University, graduated from OCAD and completed the computer animation course at Sheridan College. He is an exhibit designer at the Art Gallery of Ontario, and Board member of the artists’ collective The Propeller Centre of Visual Arts.

www.jimbourke.ca