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Interiors: painter's paradise Interiors: painter's paradise
(12 days later)
Oliver Jeffers and his wife, Suzanne, live in a one-bedroom apartment overlooking the Statue of Liberty, although the view inside is in some ways more interesting. The 35-year-old artist and author has minimal space to work with – the kitchen is a bolthole and the bedroom a gallery overlooking the living room. But the place is full of extravagant gestures. On the wall, huge maps by Jeffers himself. In the living room, furniture made by friends or found around the couple's neighbourhood. Beside the bed, a drawing by Eric Carle, a wedding gift from Suzanne to her husband. In colourful Carle typography: "Suzanne ❤ Oliver."Oliver Jeffers and his wife, Suzanne, live in a one-bedroom apartment overlooking the Statue of Liberty, although the view inside is in some ways more interesting. The 35-year-old artist and author has minimal space to work with – the kitchen is a bolthole and the bedroom a gallery overlooking the living room. But the place is full of extravagant gestures. On the wall, huge maps by Jeffers himself. In the living room, furniture made by friends or found around the couple's neighbourhood. Beside the bed, a drawing by Eric Carle, a wedding gift from Suzanne to her husband. In colourful Carle typography: "Suzanne ❤ Oliver."
It is six years since they moved to New York – first Manhattan, then Brooklyn – from their native Belfast. Jeffers studied art at the University of Ulster. Suzanne was an engineering student and the pair used to strain to understand each other's view of the world. "She was trying to wrap her brain around there's 'no right and wrong answers'," he says, "whereas in engineering, everything has to fit."It is six years since they moved to New York – first Manhattan, then Brooklyn – from their native Belfast. Jeffers studied art at the University of Ulster. Suzanne was an engineering student and the pair used to strain to understand each other's view of the world. "She was trying to wrap her brain around there's 'no right and wrong answers'," he says, "whereas in engineering, everything has to fit."
It started Jeffers thinking about how to represent the two approaches in a single piece of work. "I started making figurative paintings and then putting mathematical equations in them, to try to look at something both emotionally and logically at the same time." In an old encyclopedia he found an equation that fitted – the mathematical definition of light. He put it in the painting as a notional light source. (A quantum physicist bought the piece and, for a while, the two met once a week to talk about philosophy. Jeffers got an exhibition out of the experience.)It started Jeffers thinking about how to represent the two approaches in a single piece of work. "I started making figurative paintings and then putting mathematical equations in them, to try to look at something both emotionally and logically at the same time." In an old encyclopedia he found an equation that fitted – the mathematical definition of light. He put it in the painting as a notional light source. (A quantum physicist bought the piece and, for a while, the two met once a week to talk about philosophy. Jeffers got an exhibition out of the experience.)
Jeffers and Suzanne, who is his business manager, don't work from home. They rent a huge, light-filled studio 10 minutes away in Cobble Hill, which they either walk to or ride to on their Vespa, with their dog, Scampi. At home, they try to cut off from work altogether, gathering in the kitchen with friends, or going down to the boardwalk that looks out on the spectacular Manhattan skyline.Jeffers and Suzanne, who is his business manager, don't work from home. They rent a huge, light-filled studio 10 minutes away in Cobble Hill, which they either walk to or ride to on their Vespa, with their dog, Scampi. At home, they try to cut off from work altogether, gathering in the kitchen with friends, or going down to the boardwalk that looks out on the spectacular Manhattan skyline.
Although both grew up in Northern Ireland, Jeffers has roots in the US going back to a summer camp he attended at the age of 12; he took one of two places given to children from Northern Ireland, one Catholic, one Protestant, and made friends there that have lasted to this day.Although both grew up in Northern Ireland, Jeffers has roots in the US going back to a summer camp he attended at the age of 12; he took one of two places given to children from Northern Ireland, one Catholic, one Protestant, and made friends there that have lasted to this day.
At home, he attended the progressive Hazelwood college, the first to integrate children from both sides of the religious divide. "It was quite a rough school. And because of that I learned how to make friends with the toughest person in the class. My drawing was encouraged by my peers because I would draw on their skateboards."At home, he attended the progressive Hazelwood college, the first to integrate children from both sides of the religious divide. "It was quite a rough school. And because of that I learned how to make friends with the toughest person in the class. My drawing was encouraged by my peers because I would draw on their skateboards."
His influences were Edward Hopper; Basquiat; Cy Twombly. Then Ansel Adams's photography. "And then Martin Kippenberger. One of my favourite conceptual painters is Gerhard Richter. Any opportunity I get to see John Singer Sargent, I do. For technical ability. That's how I learned how to paint, by dissecting his work and trying to work out, how does he make that look like an ear but he's only done three strokes?"His influences were Edward Hopper; Basquiat; Cy Twombly. Then Ansel Adams's photography. "And then Martin Kippenberger. One of my favourite conceptual painters is Gerhard Richter. Any opportunity I get to see John Singer Sargent, I do. For technical ability. That's how I learned how to paint, by dissecting his work and trying to work out, how does he make that look like an ear but he's only done three strokes?"
One day, he did a painting and realised it would be better as a children's book. The result was How To Catch A Star, and since then he has turned out roughly a book a year. "There's a humour in my art that wouldn't be there without the picture books, and there's a cynicism – or a lack of sweetness – in my picture books that wouldn't be there without my art. They definitely balance each other out."One day, he did a painting and realised it would be better as a children's book. The result was How To Catch A Star, and since then he has turned out roughly a book a year. "There's a humour in my art that wouldn't be there without the picture books, and there's a cynicism – or a lack of sweetness – in my picture books that wouldn't be there without my art. They definitely balance each other out."
The apartment is a reflection of his quixotic interests: on the wall is a drawing dedicated to Jeffers by Quentin Blake. The cabinet that the TV stands on was acquired when Jeffers saw it in a shop in Brooklyn, asked who the maker was and, after contacting him, offered to exchange it for a piece of artwork. The thrift-store furniture look can feel horribly contrived, but here the pieces all fit. An old turntable playing scratchy records sits on the sideboard; a roll-top desk from Craigslist was bought purely to fit the even smaller space in their previous apartment. In the kitchen, one of Jeffers' favourite things, a blackboard. "I love writing lists. I love labelling things. It's art that changes. In my studio I have a huge blackboard I write on. Crossing things off lists is probably my favourite thing to do. Sometimes, I'll even add something on to a list that I've already done, just so I can cross it off."The apartment is a reflection of his quixotic interests: on the wall is a drawing dedicated to Jeffers by Quentin Blake. The cabinet that the TV stands on was acquired when Jeffers saw it in a shop in Brooklyn, asked who the maker was and, after contacting him, offered to exchange it for a piece of artwork. The thrift-store furniture look can feel horribly contrived, but here the pieces all fit. An old turntable playing scratchy records sits on the sideboard; a roll-top desk from Craigslist was bought purely to fit the even smaller space in their previous apartment. In the kitchen, one of Jeffers' favourite things, a blackboard. "I love writing lists. I love labelling things. It's art that changes. In my studio I have a huge blackboard I write on. Crossing things off lists is probably my favourite thing to do. Sometimes, I'll even add something on to a list that I've already done, just so I can cross it off."
Jeffers has decorated his body, too. He gives a tour of the tattoos on his arms: the Havana coat of arms, done by his friend Duke at an illegal tattoo contest in Cuba. The word "why", which, he says, "my dad taught me was the most important word in the English language". The equation he was talking about that signifies light. Three swallows, one for each of his brothers – they have them, too. And finally, some seagulls fighting over a six-pack.Jeffers has decorated his body, too. He gives a tour of the tattoos on his arms: the Havana coat of arms, done by his friend Duke at an illegal tattoo contest in Cuba. The word "why", which, he says, "my dad taught me was the most important word in the English language". The equation he was talking about that signifies light. Three swallows, one for each of his brothers – they have them, too. And finally, some seagulls fighting over a six-pack.
What?What?
"They're scavengers," he smiles, "and so are people.""They're scavengers," he smiles, "and so are people."
• Oliver Jeffers: Nothing To See Here runs from 12 September to 3 October at the Lazarides Gallery, London W1.• Oliver Jeffers: Nothing To See Here runs from 12 September to 3 October at the Lazarides Gallery, London W1.
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