‘The Goddess Art’ of Jonathon Earl Bowser is mesmerising and elegant. What Jonathon calls ‘Mythic Naturalism’, his oil paintings are the ‘Dreamscapes of the unseen intention of the world wearing the appearance and processes of nature like a cloak.’ Jonathon’s enthusiasms and beliefs are evident in his responses in our interview where he underlines the difference between ‘fantasy art’ and what his artwork represents, further explanation into his beliefs concerning Mythic Naturalism and such subjects as cosmology, as well as recalling a number of memorable intriguing artistic experiences…
What does the world of fantasy and fantasy art mean to you?
I certainly appreciate good fantasy art, and understand that it is what my work most closely resembles, but I really don’t think of my art as such. I try to make authentic observations of the actual world – of life and death, of fear and desire, of nature and natural processes – and then try to present them as visions of mythic poetry. In particular, I am fascinated by the role of the Feminine in evolutionary processes, and this is a common theme in my work.
Describe a typical working day for you?
Coffee, news, email…for 2 hours or so, and then down at the easel for 8 to 12 hours. If I have some time at the end of the day, I might tinker with some music project for a few hours. Read a good book, sleep, repeat.
What does your artistic process involve; the stages of developing from your imagined ideas into a finished artwork?
Sometimes I will reason my way toward an idea that seems, at the time, worthwhile; those ideas are never as good as the ones that just crash into consciousness like a cosmic ray. However, once the idea presents itself, my process is uniform. The figure will be the most important element, so I begin with gesture sketches that convey some aspect of the message. Once I have an acceptable figure, I’ll start designing whatever costuming and props might be required, and from there I’ll move into the surrounding environment. This stage is done with pencil and charcoal, and I’ll have a finished tonal study before doing an 11” x 17” color study (usually in oil, but sometime digitally). About half of a project is spent on such design preparations; I always have a pretty good idea of what I’m going to do before I put paint to canvas because changing an oil painting is MUCH harder than changing a Photoshop illustration.
What was your defining moment of breaking into the industry?
I’m not sure that’s happened yet, but in 1994 (10 years after graduating from art school) I sold a large painting for $20,000 and that convinced me (or tricked me into thinking) I could make a living as a painter.
What makes a fantasy artists’ work stand out?
There must be, of course, many good definitions of what fantasy art is or should be, but I think the aspect that appeals to me is: Artist as Creator of Otherworlds. As I mentioned earlier, what I’m trying to visualize is mythic representations of this world, but I deeply admire those artists who are inventing believable vistas that might exist elsewhere in the universe.
How did you perfect your artistic skills to create your fantasy masterpieces, and are there any resources that particularly helped you to master techniques?
Like many artists, perhaps, I have an excellent collection of art books – both of the anthology and instructional variety. And with each purchase I’m sure I thought, “This will help me become a better painter!” Perhaps they did a little, but after almost 40 years as a painter I can say with some confidence that the only thing that improves one’s painting technique is even more painting.
What do you do to take a break? Any hobbies?
I like to compose orchestral music. Unfortunately, I’m even slower at orchestrations than I am at designing, and it is indeed a challenge to find the kind of time required. I think my hobby this year will be just making more art.
Any funny/memorable stories concerning previous clients/projects?
I had a collection of 10 orchestral pieces that I wanted properly recorded and mixed for a semi-professional CD (a vanity project), so I took my reasonably detailed music sketches down to the biggest recording studio in Saskatchewan (small by world standards, but still…) and asked, “What can you do with this?” “Maybe we can do it in 150 hours at $60 an hour. What do you want to do with this project?” The price was about what I expected but wildly beyond my budget. “I’d like to make soundtracks for my artwork and put it together for promotional YouTube videos.” He literally froze: “You’re an artist? Show me.” So I called up JonathonArt.com and let him browse through my best work. “You know,” he said, “I didn’t know there were any artists like you in Saskatchewan. I just finished an espionage thriller and I really need a good cover artist to finish the project…” And he then looked at me expectantly. So I said, “Well, I don’t know what’s possible…but I’d be happy to do your cover art in exchange for recording services.” He thrust out his hand. “Deal!” Two years later, he was very happy with his excitingly-covered book (COAST: An Act of Burial) and I was very happy with my professionally-mixed CD (Rumors of Free Will and Wonder); that was a good day.
Are there any skills you wish you had that are not art related? Why?
There’s an artist I admire who shows in the same art gallery in Calgary, and he has the gift of the gab. He’ll set up an easel in the gallery and start painting (whimsical abstract), and people will approach him to see what he’s doing. I have never met someone more like Yoda in my life, and he will weave mystic patterns of language to bamboozle and entirely enchant even the most cynical. He’s a pretty good painter, but the reason he’s so successful is because of that charming, completely natural method of reeling in a potential collector.
If you had the opportunity, which world/scene in an artwork that you have created would you most like to live in/be a part of and why?
Like many artists, I suppose, my art is a transparent window into my psychology, and so many of my images seem quite inviting to me. But if I had to pick just one, I’d choose the deeply religious Lotus of the Eternal Night. The Intention of the Universe has many faces, not all of them friendly, but in the beneficent aspect pictured here, one could perhaps hope to find some vindication and blessing of approval for long years of effort that often seem to have been for nothing. I am inspired by the idea that human creativity will one day grow beyond the limits of the Earth into new and unlimited canvases in the sky.
From the poem Lotus of the Eternal Night:
Shimmering rainbow mist Wings of the Night,
fluttering currents of lonely starlight
drift in the swirl of Celestial Rose;
there in the blossom She waits in repose…
That would be something to see.
Your work in the Mythic Naturalism collection is remarkable and inspiring. I personally believe in mysterious energies working their magic throughout the natural world – What are your thoughts on astrology as an overall theme? Further to this, would you consider creating work concerning the Zodiac signs?
I have an abiding interest in cosmology, which creeps into my work more often than it should. Astrology as a way of thinking about sky pictures of human destiny painted across the heavens by Gods certainly has a strong appeal; but as a spiritual discipline, well, its tenets are centuries out of date. In particular, astrological prediction sounds medieval to me. I have to confess that I’ve really only bounced across the surface of astrological ideas – in my paintings Angel of Capricorn and the zodiacal The Return – and perhaps modern astrology is indeed giving appropriately deeper thought to recent discoveries. My father and my wife are both scientists, and so a great admiration for scientific discovery is an inextricable part of my spiritual identity. I hope I am a small part of a movement to update those ancient astrological conceptions for 21st century relevance.
Are you currently working on anything? Can you give a sneak peak/insight?
Hmm. Well, the world has a way of throwing curve balls at our ideas, but I’m currently tinkering away on a graphic novel project, a celestial ecology fable, which keeps me up at night. It’s a bit soon to say whether these tinkerings will coalesce into a finished product, but it sounds like good fun to try…
To find out more about Jonathon’s art please visit:
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