Behind-the-scenes at a busy artists' studio
Meet Liverpool-based painter Josie Jenkins; Windrush, The Journey at Tung Auditorium; The 13-Storey Treehouse at Manchester Opera House, Amy Johnson: Last Flight Out at Blackpool's The Old Electric
Some people feel a flash of jealousy when a flashy car drives past or they scroll through pictures of fancy kitchens on Instagram. Not me. The last time I was consumed with envy to the point of almost speechless was when a friend told me she’d been inside Lucian Freud’s studio and saw the thick marks of paint on the wall where he used to wipe his brushes. Wow! What a treat.
I have always loved seeing behind-the-scenes, whether in a factory or a theatre. I once went on a pretty mediocre school trip to Southport swimming baths and I wasn’t remotely disappointed that we didn’t get to enter the water because I got such a buzz from walking in the parts where people weren’t usually allowed to go.
So I am excited to share with you the first in an occasional series looking inside artists’ studios and other creative spaces. A big thanks to Liverpool painter Josie Jenkins for being the guinea pig. If you’d like to be featured or there’s somewhere you’ve always wanted to nose around, let me know and I’ll do my best to include it in a future edition of Stored Honey.
In my Studio: Josie Jenkins
Josie describes her paintings as “Found Arrangements”, which bring together several images from different sources, similar to a collage. She enjoys playing with the viewer's expectations so there is humour in her work. Josie also organises artistic projects, including teaching, writing and facilitating platforms for artists to engage with one another and with the public.
Her studio, where she has worked for 12 years, is within Liverpool’s Baltic Triangle in the Elevator Building on Parliament Street.
How would you describe your studio?: Our building is a beautiful warehouse which is a late 19th century Grade 2-listed building. You enter via the Arts Bar Baltic and then go up in the lift to Arena Studios on the first floor. We have taken a large warehouse room and partitioned it off into studio spaces of different sizes.
Arena is shared between 33 visual artists of multiple disciplines, from fine artists to designers and illustrators. The studios used to include some communal space and a small gallery but our rent went up a couple of years ago so we had to pack in more studio members to share the costs. The spaces are pretty small and most are self-contained but there are some larger spaces shared by two or three people. I’m in a shared studio and although it isn’t completely private, it’s better for me because I make large paintings and so I can work on a larger wall and step back to see them. I rent some storage from a friend in Birkenhead so in my studio space I mainly just store paintings that I’m working on.
Our remaining communal area is really just a small walkway and a little kitchen. It’s all pretty cosy. It is also surprisingly warm for artists’ studios. We don’t even need heaters and I joke that it is magically heated! I think it mainly comes up from the bar on the ground floor and then the building retains heat really well. It’s amazing in the winter but absolutely boiling in the summer.
What is the atmosphere like and how does it influence your artistic process?: In some ways Arena is very communal, because there are so many of us packed in, but with the spaces being partitioned off you can have a door or curtain, so it’s easy to get some privacy if you want it and the other members are respectful of that. The Baltic is a pretty lively area and the music from the bar downstairs can be quite loud but I love being in the middle of it all.
I’m not sure how much my studio influences my artistic practice. An artist friend said to me once that she wants to be in a studio with people who are making work that inspires her and at the time I thought I agreed, but I’ve since though about this a lot and I’m not so sure. I actually respond more to the personalities of the people I am sharing with than the art they are making. I like it when people treat each other with respect but can also chat openly about all sorts of things, sometimes art-related, but it doesn’t have to be. I feel like we have that culture in Arena at the moment.
This probably just makes me feel comfortable and enjoy spending time there rather than influencing the way I paint, but who knows actually. It can help to get feedback about the work I’m making but sometimes this comes at a time when I’m really not in the mood. Such is the nature of shared studios.
What essential tools or materials do you always have in your studio?: Since my studio is small in comparison to the large paintings I make, I only store the things I really need and over the years I’ve got better at knowing exactly what that is. I have a really good selection of DIY tools, various sized rulers, screws, nails, different types of masking tape, stretcher bars, canvas and of course paint, though not as much as you might expect as I use paint quite thinly and don’t actually make a huge amount of work. I only have a small table and prefer to keep it quite empty so I can use it for computer work as well. I have a shelf with lots of brushes on it and little pots of mixed colours that I have on the go.
My favourite most helpful tools and materials are - a tiny metal ruler, carbon paper in black and white, a retractable eraser pen, pencil extenders, a projector and two beautiful little ceramic paint brush rests that my friend gave me which are shaped like a mountain range.
Are there any specific rituals or routines you follow before starting a new piece in your studio?: I tend to work on one painting for quite a long time rather than multiple paintings. I do a lot of planning before putting paint down, rather than the approach I used to use, which was to try things out straight onto the painting and see how it goes. I used to make lots of work and some of it was ok and other paintings not worth keeping, but now I plan enough to make it a safer bet that I’ll end up with a good enough painting.
I do have a bit of a ritual for when I get into the studio. I generally procrastinate for a bit before I can do anything. I make a cup of tea and look at the painting I’m working on, get distracted by my phone or deciding what podcast I want to listen to. I also sometimes listen to music while I’m painting, but often I need to work in silence as I need to think more carefully about something like composition or how exactly to go about painting something.
Do you have any favourite art pieces or objects in your studio that hold special significance or inspiration for you?: I have quite a minimal studio and generally don’t have finished artworks on display, except I have this one very tiny painting that I made quite a long time ago and I do have that hung I a little space on the wall. It’s a painting of the largest container port in the world, which I visited when I was in China 10 years ago.
Sometimes with paintings that I made a long time ago I don’t really feel like it was me who made them, so I can see them in a different light and be less critical. This is one of those paintings and it also has sentimental value because I have such amazing memories from the time I spent in China.
Read more about Josie’s work here and Arena Studios here.
We’re Also Buzzing About…
Windrush, The Journey: Pegasus Opera, in partnership with the Royal Liverpool Philharmonic Orchestra, will honour the legacy of Windrush by showcasing a rich tapestry of music and storytelling, and celebrating Black classical composers: past, present and future. An accompanying exhibition will showcase their work through music, photographs and anecdotes. It’s at the Tung Auditorium on May 31 and June 1. Tickets here.
The 13-Storey Treehouse: Andy Griffiths’ and Terry Denton’s multi award-winning kids book has been give a stage makeover at Manchester Opera House from August 15-18. Watch out for flying cats, a mermaid who is not what she seems and a monkey invasion. Tickets here.
Amy Johnson - Last Flight Out: Meet the first woman to fly solo from England to Australia in this show about Amy Johnson’s memories, desires and ambitions at The Old Electric in Blackpool on March 15. Tickets here.
Receive a free subscription to Stored Honey through our referral programme
If you enjoy Stored Honey, it would make a big difference if you invited friends to subscribe and read with us. If you refer friends, you will receive benefits that give you special access to exclusive content including a monthly guide to must-see arts events and the Stored Honey podcast. If you’re already a paid member then you will receive a free extension to your subscription.
How to participate
1. Share Stored Honey. When you use the referral link below, or the “Share” button on any post, you'll get credit for any new subscribers. Simply send the link in a text, email, or on social media with friends.
2. Earn benefits. When more friends use your referral link to subscribe (free or paid), you’ll receive special benefits.
Get a 1 month comp for 3 referrals
Get a 3 month comp for 5 referrals
Get a 6 month comp for 15 referrals
To learn more, check out Substack’s FAQ. Thank you for helping to get the word out.
Thanks for reading this week’s Stored Honey. I hope you enjoyed our little trip into Josie’s studio as much as I did. Now for a few clues about next week’s edition: “Kiss me quick” hats, peppermint rock and the sound of laughter.
In the meantime, you can get in touch on X/Twitter, in the comments or you by dropping me a line at tostoredhoney@gmail.com.
Have a great week,
Laura