Featured artist: Paul Jackson
Into Dust, 18x36, pen and ink on Ampersand Claybord
Paul Jackson is a master of noir pop art whose detailed drawings and paintings are often filled with dystopian humor, challenging the viewer to confront the absurdity of modern life.
Giant Ape in Hangar, 12x12, pen and ink on Ampersand Claybord
Q: You mention that M.C. Escher was an early inspiration. How did his unique approach to geometry, perspective, and optical illusion influence your artistic process or how you perceive art?
I have always enjoyed optical illusions and illusions in general. When I first saw Escher’s work, something about the beautiful art and ideas mixed in with his illusions and unique visuals resonated with me. It opened up a new part of my brain artistically that I hadn’t really explored before. He had a very detail-oriented approach to his artwork and approached it with real precision and concept. I wanted to explore how I could use those same methods to reveal my own ideas and try new things.
His work made me look at things a bit differently; it felt like my gateway into thinking outside the box.
Working Together, 14x11, pen and ink on Ampersand Claybord
Q: Every artist has their go-to tool that feels like an extension of themselves. What’s your favorite pen or other medium to use?
I am best known as a mixed media artist, as I like to work with many different types of mediums. I’d say that the pencil has always been a trusty tool for me as it’s really versatile and can capture the details I love to add to my work. It’s also something that can be built upon over and over to create a softness without having to lose texture. I am also a big fan of using fineliners as they require a different kind of attention than a pencil. You have to be even more precise and confident in what you are putting down and there is a joy I find in that. Every mark needs to be very intentional. I think I am in a good place with both of these tools, but I will never tire of trying to learn more and improve my skills.
Eddie Vedder Concert Poster, pen and ink on Ampersand Claybord
Q: Creating a concert poster is a collaborative and creative process. Can you walk us through your process from the initial concept and brainstorming stages to the final product?
Depending on where the show is and what bands it is for, you usually try and find a link to the city they are playing in, as that is generally what the customers want to see - a connection to the band and the city they live in. That isn’t always the case, though. I personally like not having to cater to the city as much as possible, as it can limit your options a bit, but that’s also where you have to get creative. I like coming up with concepts that generally capture the vibe of the band in my style and look aesthetically pleasing overall. I always start with thumbnails in my sketchbook, that’s a basic starting point. I will then find the best 3-5 ideas and render them a bit better for submitting to the band or creative company. Once one is selected, I can then begin to render the final drawing. I usually draw it all pen to paper or Claybord, not digitally. I will then scan the drawing and create the file in Photoshop, coloring it and adding the text digitally. There may be a few changes here and there in the final stages of getting it approved, but generally, this process is short and fairly streamlined.
Skull Study, 8x4.5, scratchboard on Ampersand Scratchbord
Q: You use both Scratchbord and Claybord. Do you have a preference between the two, and how does each medium impact the style or expression of your art?
I love using both, but I would say the Claybord is a bit more dynamic as I can add ink and scratch the ink away. This obviously helps me create depth, and I can layer things with a bit more ease than Scratchbord. The Scratchbord is a bit more tricky as you are adding the light instead of the shadows. I do love working this way, though, as it is a bit more of a challenge, and it does create really rich images. It’s like you are shining a light on the drawing and you have to sort of work backwards in a way. It requires you to work in slow layers, building up the dark tones into the lighter tones, and that’s challenging but rewarding, I find.
Textinction, 20x16, pen and ink on Ampersand Claybord
Q: Your work often features the intriguing theme of peeking inside the head and body. What inspired you to explore this concept?
I have always been interested in the inner workings of things. When I was a kid, I liked to take things apart, like old radios or electronics in general. There was something really interesting to me about how these small parts all come together and make this entity. This then translated into the human body. I’m fascinated with skeletons and how our visual being is built around this complex structure of bone and flesh. I decided that I wanted to add a layer of surrealism or wonder to this by adding in things that we know aren’t there but using what’s placed inside as a sort of metaphor for thought or soul. It’s hard for me to pinpoint what it really is, but there is a deeper meaning that I’m also trying to understand on my journey. Like Nick Cave has said in the past - sometimes the meaning is yet to reveal itself, I am just a vessel for said ideas.
Evolution, 24x36, pen and ink on Ampersand Claybord
Q: If you were to switch to a completely different medium, do you think your artwork style would change? Are there specific aspects of your work that would translate well, or would it lead to a new direction for you?
In terms of my artwork style changing, I don’t think so. I think the general attitude of my work would remain but pending on what the medium was, that would undoubtably hold an influence of what was possible. For example, I do see myself taking on sculpture in the near future. I’d really like to experiment with 3D forms more and really feel the work I’m making. I also think it will enable me to bring a whole new depth to my work and maybe even play with scale more. I’ve always loved the idea of making larger than larger-than-life sculptures, similar to what Ron Mueck has achieved. It really feeds my imagination and makes me feel like a kid again. It’s powerful stuff.
Victorian Ladies, each 5x7, pen and ink on Ampersand Claybord
Q: Your clients range from Universal Studios to Ancestry.com to Pearl Jam. Who has been the most memorable to work with?
I have been lucky enough to work with some amazing companies and people. I’d say there are a few stand-out projects, but the project for Universal Studios on the X-Men: Apocalypse movie was a great learning curve for me. It was quite high pressure for that time in my career and I was working long hours to make it work, as most of these larger projects are needed yesterday! I felt a reasonable amount of pressure, but it was also exciting. That one stands out a bit.
I was really excited to be invited by the band TOOL to make a print for them, I’m a fan of the band and to be invited personally was a great honour. They also let me do whatever I wanted, and the job was a dream.
Self Portrait, 14x11, pen and ink on Ampersand Claybord
Q: How did you discover Ampersand, and what do you love most about Claybord and Scratchbord for your work?
I randomly bought a Scratchbord one day after seeing another artist create something really epic on one (I can’t remember who the artist was), but it inspired me to try it out. I remember when I was a kid at school, we used to make our own versions of clayboards using wax crayons. You would rub a ton of random colours on a piece of paper and then cover it with a layer of black wax crayon. You could then scratch away the black to reveal the colours underneath. That’s always stayed with me, so there was a learned desire to try it again but on a professional level. I created a few pieces on Scratchbord that I posted online, and another artist (Brandon Holt @heathenlegs) mentioned to me that there is another type of Scratchbord called a Claybord. You can add your own ink first AND scratch it away to have more dynamic control of your drawings. This was a bit of a game changer for me, and that’s what started my Ampersand journey.
photo: Ryan Ng
Artist Bio:
Hailing from Brighton, England, but residing in Toronto, Canada, Paul’s one-of-a-kind voice and vision have turned heads around the world. A mixologist of form, style, and media, his unique fusions of sci-fi and the surreal offer meditations on the supernatural, popular culture, and humankind’s reliance on technology. To see more of Paul's work, visit his website, Instagram, and TikTok.
