In Conversation with Jules Briggs

The interview with Jules Briggs

Introduce yourself! 

My name is Jules Briggs. I was the seventh feverdream resident. I'm from Detroit, Michigan, and I lived in Cleveland during my residency. 

How would you say your overall experience at feverdream was?

My overall experience at feverdream was fantastic. I loved it, I loved it so much. I wish that feverdream was my full time job all the time. But because it's not, that's made it ever more special to just dive into my work. Be solely focused on painting and creativity, exploring and just reaching beyond my boundaries. 

What would you say you learned about your artistic practice during your stay? What did you learn by yourself and how you work?

Let me think about this. What I learned about my artistic practice during feverdream was that I'm very dedicated to painting. And once I have a schedule or once I have a routine, I stick with it. And that's been surprising for me in some ways. I know that I have a good work ethic. I know that I've always wanted to paint and only paint, but, to really not even tire from it and to have been given this opportunity to just paint and make that my sole interest. I realize now that it is truly my passion and that's all because I had no other obstacles or distractions. 

How did you see this opportunity as a boost for yourself as an emerging artist, and did it set you ahead?

Yeah, for sure, it set me ahead. feverdream definitely gave me a boost. Not only in my own confidence and my own headspace, but definitely in my career. I feel that having a couple other residencies under my belt and as I was just starting art, I was still, you know, dipping my toes into the water. But, considering myself a career artist, having this residency definitely helped my career push forward. With that mindset in hand. And I think that all of the people–the people I've met in critiques, Critters, the people that Maximilian has brought in for me to meet, the board members of feverdream–All these people are a built in community that I can now call my friends. And, pull into my creative circle. It's absolutely been 100% helpful to my career, and I really wouldn't have had such an amazing opportunity if I wasn't in this residency then my art career wouldn't have launched as it had without this opportunity.

How did this experience lend to experimentation in your art making? What did you experiment with?

Well, coming into feverdream, I expected to push myself material wise beyond my boundaries. I know that I've done a lot of collage in the past, so I expected to do more collage, and work with pastels, maybe some colored pencils. But what I didn't expect was that I grew creatively, and stretch myself creatively into a more conceptual art form where I was. Playing with narratives and Disney themes like fantasies and just storytelling through my art. Really leaning into that exploration side of things rather than material exploration, which is what I thought I was going to do more of.

You did mention that you experimented with collage which is something you use a lot. But during your residency you talked about how you actually hate doing it?

Yeah, I complained a lot during my residency about using collage because I do hate collage. I hate it because it's the glue. It just gets all over my fingers. And then like when you're trying to glue something down and you're pulling back, it gets stuck on your finger. The only thing I like about collage is cutting up paper. That's about it. So yeah I know that it's a good tool for me. Well, that's why I've kept using it. But I definitely think that especially with my critique with Amber Kempthorn, her explaining to me that how she collages without collaging. Just like drawing or painting what you want realistically, instead of actually collaging. I think I'll do more of that in the future just to bring more enjoyment to the process.

How did you surprise yourself during your stay?  

I think though I appear outwardly outgoing, I can be a little bit shy when entering new spaces, amongst new people. So I was nervous for the social side of this residency. But once I got over that imposter syndrome of “I'm not going to make anything good here, and I might as well leave,” I actually had a wonderful time. I made friends, and I had no reason to be afraid socially, or with my skill set. Like, it just came naturally to create. And so though I was afraid I wasn't going to make anything of importance, I felt like I did. And so I surprised myself by warming up to the space really quickly. Once I establish my studio, I feel like “now I have a space and I've created my own little safe haven.”

What did you think about the space that you worked in? Do you think it fostered creativity for you?

Definitely. The space that I worked in definitely fostered creativity. Because it's always beneficial to me and it always has been to work alongside people, creative people. Whether that be Maxmillian in his studio with his paintings or just in the J ROC building. People working around me inspires me to put my head down and get to work, too. And I definitely think that's influenced how many works I managed to produce during this short time. I think that it kept my focus, it kept my competitiveness with myself to keep on creating better and more inspired or creatively driven works.

How does it compare to your home studio? 

So, I had a studio in the Screw factory when I was in Cleveland, and I loved my Screw Factory studio, and it had the similar feeling to here. Like a community and we’re working together, but separately. I loved that side of things. Also the Screw Factory, just is a really cool building. I think the feverdream studio, I always knew it was temporary, so I savored it. I loved the view. I think sometimes just being able to look out the window is something really special to have in a studio, because nearly all of my studios didn't have windows. I mean, my Screw Factory studio didn’t. Not at all. I had no natural light. And so this was really wonderful to have the natural light up here. And it was cozy. It was always warm, sometimes too warm (Laughs). But it was always cozy. I always felt like this little loft up here was a good space for me to get my mind jogging. I definitely savored it because I knew I would miss it.

You called it, like, working separately but together. I sometimes refer that as parallel play. So how does it compare to work alongside people that aren’t on the same art-focused track as you vs. parallel playing alongside another artist? 

Yeah. I love that there were different kinds of people here. I love that there [were], you know, more business minded people, creative people. I've always considered my art to be academic as well. So as much as I'm reading or researching, writing about my artwork, I'm also painting. And so I think that being around so many different kinds of minds and different ways that people are working definitely help to, I guess, the back side of painting. You know, the things that you don't see on the canvas.

Did you feel like a member of the community at the space when interacting with folks?

Yes, definitely. I felt like a member of this J Rock/feverdream community. The snack table definitely put that into my head space that, “yes, we are all sharing snacks together.” But more than that, I think that it's wonderful to walk into your work environment and say “hello” and “good morning” to your people: the other inhabitants of this space, your coworkers, per se. I always felt that I was welcomed and happily received. And so I'm going to miss it a lot. 

Jules in her interview at the studio.

You're originally from Detroit but what's your opinion of Tremont, the local surrounding area? And did happen to eat anywhere nearby? Did you have a favorite restaurant in the area?

Well, it's always wonderful when there's an ice cream store in walking distance. That is terrific. Battr is in walking distance. There's a bunch of stuff in walking distance here. We're right in the thick of it. So, it's hard to name a favorite. It's just nice to be in an urban area and be amongst the folk of Cleveland. 

What would you say is your favorite piece that you make here? And why?

Okay. So my favorite piece I made here would definitely be my Pinocchio piece. Because it's not only one of the biggest pieces that I made here. I think that I've also connected with some of the smaller pieces I've made. But, Pinocchio was such a pivotal moment for me in my creative storytelling and my narrative work and getting into my fantasy kind of art sort of thing that I developed during feverdream. So Pinocchio definitely was the start of it. And I love that I could stick to a color palette because I know that my color can kind of go crazy. But that one was successful in a lot of different ways. Conceptually and intellectually, I feel like it made me work for it. I had a lot of points during Pinocchio when I didn't know if it was going to come together or if it made sense the way that it needed to. But it did in the end, and I'm very proud of it for that. I'm very proud of my skill development throughout it, too. 

In regards to the residency, what would you say is your biggest takeaway?

So I thought about this question. My biggest takeaway of feverdream, it's so hard to answer because there's there has just been so many different things about feverdream that I've taken with me and I will use as tools in my imaginary toolbox. I think maybe it's confidence. I feel a lot more confident now in my ability and in my mind. Sometimes when I felt like I had absolutely nothing to paint, I still pulled something out of my head. And just to trust the process. And I've been saying that since undergrad, but I don't think I really felt it until I really gave everything else up in my life and put my sole focus into art, to really feel the fruition of that.

What were you most nervous about coming into a residency program? 

I'd say two things. One, in myself I was nervous about imposter syndrome, like I said. Not living up to my potential. These people chose me for a reason to be the feverdream resident. So I have to produce something of value. So I was really nervous to do that. And I was worried I would choke. But I did not. Or at least I think I did not.

And then the second thing. I was used to painting with oils strictly, so I was pretty nervous about painting with acrylic. But after a couple test runs, I got right into the hang of it, and that wasn't an issue anymore. I think that Maximilian was a huge help in just giving me advice on what tools to use, like the Masterson palette, and also techniques. So really thankful [to] him for that.

What was daily life like here for you? If someone reading was interested in becoming a resident, what was like your routine?

Yeah. Well, the routine was super flexible. It was up to me to make up. I know that a resident before me or a couple before me worked nights at feverdream. I chose to come in at 10 and leave around 5. Even with a dog I got to go home at lunch and come back. But it was pretty much 10 to 5 every day, and I stuck to that. Unless there was something I had to go and do. feverdream was very flexible with me. And that was really helpful because my dog is very needy.

Jules’ Final Critique with here feverdream resident record number of 19 works!

And what'd you think about the three critiques that you had while here? You had two visiting artists, and then the final critique. What did you think of critiques in general, getting that feedback from other creative folks about your work?

Yeah. I think Critters was definitely beneficial to building my community. On the one hand, and on the second hand, having a larger group to critique my work was cool. A variance of opinion was super helpful. And yes, of course, growing my community, the one on one critiques with Amber Kempthorn and Erykah [Townshend], those were really beneficial too because Maximilian specifically picked those artists to come knowing what kind of art that I make, knowing what kind of art that they make. So it was very catered to where I was at creatively. And I've always gotten a lot of great feedback and critiques and jumping off points from one on one critiques like that. My favorite was definitely the final critique though because that's when I got to see all of the board members, when all of my art was up. I think that would be anybody's favorite critique because everything comes together at the end and you made it and it feels good. I'm not an imposter.

What was something from a critique that just stuck with you, that you were thinking about for a while after?

I think it was during Amber Kempthorn’s when she said two things that have definitely stuck with me. She said the point about, collaging without collage which I am definitely interested in. And then she also told me to really lean into the storytelling and the fable. Pick one fable–whether it be like Pinocchio or a different story–to really dive into and create an abundance of works around that singular idea. And I think during feverdream, I was excited to really focus on the one thing being Pinocchio. But I think continuing that, that critique stuck with me. And I do want to follow through and see what happens when I really exhaust a topic. 

Who or what do you think is the most slept on philosopher or philosophical work?

Oh my God. Okay, can I think about it for a second? Most slept on philosopher… So, the most slept on philosopher. I would say two. I would say Paul Tillich and Eliade. They study theology as well. I think that there's a lot of God, per se, that comes into creation. 

And Tillich said something about the obligation, meaning there's no other, you can't not follow your god. And that being the God above God. So there's the societal construct of  god. But then that the god above that god would be your own pursuit. And that's something akin to one’s self. And that's, you could say, is passion maybe. I don't know, [it’s a] philosopher, [it’s] open to interpretation, but, definitely Tillich God above God. I love that philosophy of his. 

And then also Eliad’s sacred spaces. Studio being a sacred space, your body being a sacred space, like a canvas. Just designating your access point and orbiting it. Those are two people that I've kept coming back to in my adulthood.

And then the last question would be, what is the most ridiculous 10 dollar vocab word that Maxmillian used around you? 

Like people, I am not so good at remembering names, so I will not be able to. It won't be likely that I'll be able to recall a specific word that Maximilian has said, although he has an extensive vocabulary and he pulls it out at the very funniest times. So, not only was he a terrific studio mate, but he was endlessly entertaining with his vocabulary, knowledge and other “knowledges.”