{"id":215847,"date":"2026-06-24T06:41:04","date_gmt":"2026-06-24T12:41:04","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=215847"},"modified":"2026-06-24T06:41:12","modified_gmt":"2026-06-24T12:41:12","slug":"floating-into-space","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/floating-into-space\/","title":{"rendered":"Floating into space"},"content":{"rendered":"

Jay Harper<\/p>\n\n\n\n

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Portrait by Sophie Davidson, Studio March 2026<\/figcaption><\/figure>\n\n\n\n

What pieces or projects have you been working on lately?
<\/strong>I\u2019ve been focusing on a body of work for a physical group exhibition at Morgans Gallery in Cornwall<\/strong><\/a>. I\u2019ve allowed a lot of time to work on these paintings so that I can play around with ideas without too much pressure. I also think it\u2019s really important to be able to disregard paintings along the way when producing a collection of works. So far, these paintings have felt very playful, with a more abstract approach to still life. I have also done a lot of ink drawings which have very much informed my paintings, as well as being artworks in themselves.<\/p>\n\n\n\n

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Triangle Pears, 2025<\/figcaption><\/figure>\n\n\n\n

What did you learn (or unlearn) while working on it?<\/strong>
I\u2019m forever learning while painting. I feel like there\u2019s an endless internal monologue going through my head that guides me whichever way feels right in the moment. When you\u2019re so immersed in any art form, it\u2019s very easy to almost get lost in it. I think the biggest lesson with this particular collection has been to step away regularly and have short bursts of space from the work and come back to it with fresh eyes. It\u2019s pretty amazing what that does, and it\u2019s very easy to be ruthless in the moment and later regret a decision, such as wiping a painting, which continues to be a favourite habit of mine.<\/p>\n\n\n\n

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Red Set, 2026<\/figcaption><\/figure>\n\n\n\n

What words, ideas or emotions were running through your head?<\/strong>
Sometimes I will make up stories in my head while painting, which informs the work as I go along. I guess the stories can also be a comfort, as painting can feel quite intense. I think it\u2019s this intensity that leaves me wanting to paint more and more. There seems to be this conversation between pressure, play and believing in what you\u2019re doing all the time, trying to keep self-criticism at bay. Painting has to feel free, otherwise the work will suffer as will the painter.<\/p>\n\n\n\n

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Studio shelf<\/figcaption><\/figure>\n\n\n\n

Were there any conversations, movies, music, or books that made their way into that work?
<\/strong>There hasn\u2019t been any influence from a book, film or music in this particular collection. This body of work feels like an extension of me exploring different ways to create still life. It could be an endless exploration really. I find myself learning and wanting to explore something new whenever I paint.<\/p>\n\n\n\n

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Only Flowers Travel by Boat at Night, 2026<\/figcaption><\/figure>\n\n\n\n

What’s been the most difficult thing you’ve faced recently in your creative process?<\/strong>
The most difficult thing I faced this month in my creative process was learning to let go when something felt like it wasn\u2019t going to plan. I am learning more and more that what doesn\u2019t work only informs something else as part of an ongoing journey.<\/p>\n\n\n\n

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Studio wall<\/figcaption><\/figure>\n\n\n\n

What is your favorite restaurant and why do you like going there?<\/strong>
I\u2019m not a massive restaurant goer, I\u2019m very much a home bird. However, the last couple of times we have eaten out it has been to Condesa on Whiteladies Road in Bristol<\/strong><\/a>. This restaurant seems to do everything right and is very much an eatery experience with delicate small plates and a beautiful interior. I would highly recommend it to anyone visiting Bristol!<\/p>\n\n\n\n

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Which studios, laboratories, or workshops have you collaborated with recently or would you like to collaborate with in the future?<\/strong>
My last collaboration workshop was at the start of 2025 with \u2018STILL<\/strong><\/a>\u2019, run by Ellie Jauncey<\/a><\/strong>, who works with artists and makers to create online workshops that people can sign up to. It was a great experience teaching online and I felt like I learnt from it myself. I hope to teach again with STILL this coming autumn.<\/p>\n\n\n\n

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Another World, 2026<\/figcaption><\/figure>\n\n\n\n

Recommend one or more artists you follow who inspire you, and tell us what you like most about their work or their way of working.
<\/strong>There are so many artists out there that inspire me. Although viewing the majority of art on Instagram is by no means the best way to experience it, there is such an abundance of incredibly talented artists and makers on there that if anything good can be said for that platform, it\u2019s the creative community.<\/p>\n\n\n\n

Martyn Cross<\/strong><\/a> has to be one of my favourites. His work feels like you\u2019re stepping into a world that could be now, in the future or 2000 years ago. The characters in his paintings can feel otherworldly, telling a very obscure story.<\/p>\n\n\n\n

Eska Marsh<\/strong><\/a> is another artist whose work I find beautiful. Her prints feel like paintings or rich drawings that aren\u2019t all that meets the eye. The style of her work allows a story to unfold right in front of you with her very characterful interpretations of everyday objects and scenes.<\/p>\n\n\n\n

Rob Lyon<\/strong><\/a> is another artist who I have loved watching develop his paintings over the years. His most recent exhibition in New York is some of my favourite work of his. His work seemed to soften for this show, giving his paintings a dream-like quality. I love the way he uses colour and shape to form what appears to be abstract landscapes, but the paintings really could be many things. I think this is what is so special about his work.<\/p>\n\n\n\n

I could go on to include more and more artists; however, the presentation of art for exhibitions is a huge part of its final appearance and feel. Joshua Smith<\/strong><\/a> is an incredible framer who myself and some of the above artists have used to frame their work. Joshua himself comes from a background of painting and has an amazing vision for displaying artworks in his beautifully crafted frames.<\/p>\n\n\n\n

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Jay Harper
<\/strong>Jay\u2019s work predominantly explores a combination of real life and abstract still life compositions, with a heavy focus on shapes and muted colour. She believes in the process of painting, allowing ideas to flow freely with feeling.
instagram.com\/jayharperart<\/a><\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

I\u2019m forever learning while painting. I feel like there\u2019s an endless internal monologue going through my head that guides me whichever way feels right in the moment. When you\u2019re so immersed in any art form, it\u2019s very easy to almost get lost in it.<\/p>","protected":false},"author":2641,"featured_media":215849,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"posts-nuevo","format":"standard","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17849],"tags":[],"class_list":["post-215847","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews"],"acf":[],"mb":[],"yoast_head":"\nFloating into space - ERRR MAGAZINE<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/errr-magazine.com\/english\/floating-into-space\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Floating into space - ERRR MAGAZINE\" \/>\n<meta property=\"og:description\" content=\"I\u2019m forever learning while painting. 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