“The black ink touches me – the way Zen calligraphy does.  It is nothing like the mixed media work I used to do, which was big, bold and brightly coloured. Or even the environmental sculpture I loved doing with natural materials. Instead, it surprises me to work with ink - black and white - unfamiliar and unknown. There is space for daring, prayer, silence, and humility."

Julie Jarvis Ink
Ink Painter & Ink Maker

My artistic journey and practice has been shaped by years of collaboration with exceptionally talented artists. I began my education in California, immersing myself in dance, sculpture, collage, theatre,and textile art. This diverse foundation was enriched by my work in pioneering community arts programs and exhibitions, blending creativity with meaningful cultural engagement.

Over time, my practice has evolved into a refined, intentional expression of simplicity and stillness. Inspired by Zen and Sumi-e painting and a lifelong quest for meaning, my ink work has become a distilled reflection of my artistic vision—quiet, contemplative, with room to breathe.

I didn’t expect to be a painter or an ink maker

It feels like I was led to painting and ink making.  I watch lush strokes and images emerge on the paper, so often reflecting the tenderness of our forests and fallen trees, and something opens in me.

My paintings are simple – with room to breathe

I use black ink on white paper to explore darkness and light, silence and sanctuary.  More recently I have begun to use natural inks - greys and browns – which offer depth and nuance.  They also add a richness that is nourishing.

While the paintings reflect the natural worlds around me, my work is not intentionally representational.  Lines appear on the paper and I do my best to honour each one.

The names arise from the paintings themselves. This gives my body complete freedom to move without preconception – my attention following the brush as it flows freely across the pape

The first strokes

I began painting in the forest by a lake.  I was immersed in nature and reading a book by Diana Beresford-Kroeger called “To Speak For The Trees” and something awoke in me - A call to paint simply while raising awareness about trees.

Each day I walk among trees and sit quietly.  From this practice, the ink paintings emerge in quiet harmony with the world around me. 

Inks

For my paintings I use handmade chestnut brown and silvery grey and sap green inks together with Japanese Sumi inks. The coloured inks are made with buckthorn thorn and sumac berries, black walnuts and acorn caps that I find in my walks through forests and ravines.

Hanko stamp

The Hanko stamp I use is in the style of Japanese Hirigana Charaters - meaning silence, stillness, inner peace. It is placed before my signature. The placement is unique to each painting. Something decided once the painting is finished and often after I have let the painting rest awhile - anywhere from hours to months after it is completed. It is not rushed.

Current work: archival paper

I work with acid-free cotton and Japanese Washi—quiet surfaces that hold color and breath. I continue to seek out new materials that speak softly.

Sketch paper - the first 40

I began painting with sketch paper. This gave me complete freedom to explore with minimal cost or impact on trees. 

Using sketch paper has the unique effect of aging overtime. The paper may yellow or fade, especially if the paintings are hung in sunlight. 

I was worried about this, but I have come to see this decomposition as part of the artwork. They invite reflection.

Those that remain are part of a private collection and are no longer for sale.