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FA: What inspired your new untitled series (river no. 5, lagoon...)?
JP: My recent work is inspired by Iceland’s braided rivers and sandurs (deltaic plains), vast environments where geological processes occur over time. I explore the light, forms and patterns that water takes as it actively intersects with, and over time, alters the landscape through erosion and water flows. I use photographs taken on recent visits as reference material. I am interested in glacially generated rivers as a symbol for energy and transformation in ourselves and in the natural world.
FA: Who or what has had the greatest effect on your artwork?
JP: My “discovery” of geology, studying and research about it and meeting geologists. Also has opened up the world of science astronomy, underwater research, etc. -- how the universe works from a scientific viewpoint. Recent travel and residencies has also affected my work greatly, including exposure to specific landscapes -- areas of Utah, Wyoming, Colorado and New Mexico.
FA: When you received the National Endowment for the Arts Individual Artist's Fellowship, how did that affect your life as an artist?
JP: The NEA grant allowed me to work in the studio without a job for some time. It also opened doors to further career opportunities -- museum and gallery commitments and other grants.
FA: Who do you ask for art criticism and why?
JP: Sometimes I ask my artist friends, colleagues, husband (a photographer). I ask people when I need perspective after working for a stretch. Also, since I’ve moved here I take transparencies with me to New York -- I have friends there who’ve known my work for a long time.
FA: Why are you interested in having your artwork in films? What film, TV or commercial do think art is used effectively and successfully in? Did you see your work in the episode of MONK and were you happy to have it used there?
JP: Good original work in films subtly enhances the settings. It helps define the ambiance of a place and makes it more human and personal, as art collecting reflects taste and subjective choice. So it has the potential to give another dimension to character/place. I was glad to see my work in “Monk” (I watched it with friends in a "Monk" viewing party!) Of course, I’m glad to receive the income from work used in films, etc.
FA: Exhibiting work at galleries and art spaces is an important part of most artists' lives. Is it a motivating factor for you? Do you make art mostly for personal satisfaction or is showing it part of the process of being an artist?
JP: I make work for my own satisfaction and needs, but showing and feedback are important. Having a show is motivating in knowing that the work will be seen outside of the studio -- the dialogue with viewers is an integral part of the creative process. What's good about showing is that I get to be out of my studio environment and see my paintings in a different, "neutral" context.
FA: Now for a few fun questions--to help us get to know you a little more. Name a store, restaurant or bar in your neighborhood that doesn’t get enough credit for being just plain great.
JP: The Moroccan restaurant Chameau on Hyperion in Silver Lake is great and Le Petit Beaujolais in Eagle Rock is sweet and feels like Paris. Also Patty Faye and Clover, retail stores on Rowena Ave.
FA: Where is your favorite place for brunch in LA?
JP: The Coffee Table inSilver Lake.
FA: Did you always want to be an artist? Did you have any backup career plans? What did your parents want you to be?
JP: I liked to draw and make things as a child. When I was ten I began classes at the Art Student’s League in New York where I had wonderful teachers and exposure to the practice and discipline of being an artist. I went to a high school for the arts and then to art schools. No back-up plans. My parents supported my love of art as I was growing up.
FA: Are there any important things related to where you are going with your art, what direction you see your art moving towards in the future, etc. that we haven't discussed yet and you'd like to mention?
JP: I’m currently working on large scale paintings and experimenting with new techniques, tools and ways of using paint and other materials, without brushes. My aim is to approximate my visual experience of Iceland's dramatic topography and explore how natural forces can shape a place in both visible and hidden ways.
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