Julie Jarvis Ink
Ink Painter & Natural Ink Maker

My artistic process comes from a lifelong search for stillness and meaning. 

I didn’t expect to be a painter or natural 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 paper.

The first strokes

I began painting in the forest by a lake.  I was at a dear friends cottage 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, read and sit quietly.  From this practice, the ink paintings emerge in quiet harmony with the world around me. 

Using Natural Inks

For my paintings I use handmade chestnut brown and silvery grey inks together with Japanese sumi and black calligraphy inks. The natural inks come from hawthorn berries and sumac berries, black walnuts and acorn caps.  

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 and are also an invitation to exchange old images for new ones overtime and experience fresh impressions.

The sketch paper prints were priced affordably for this possibility and in no way reflects the richness of the piece.  Those that remain are part of a private collection and are no longer for sale.

Current Work: Archival Paper

After experimenting with several types of paper, I have chosen to work with 100% acid-free cotton paper, still continuing to experiment with rice papers and other materials that pass my way.

Frames

The prints on-line are sold unframed. Framed ones are available at my art shows.