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This is an original work by Jordy Hewitt.
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Jordy Hewitt is an Australian painter whose work navigates contending life and bodily forces, identity, and the subtle intersections of interior and exterior emotional realms. She grew up near the ocean in Boorloo/Perth, Western Australia, and now works in Walyalup/Fremantle. Since completing a Bachelor of Fine Art and Design at Curtin University in 2014, Hewitt has exhibited continuously both locally and nationally in solo and group exhibitions and prizes including The Hutchins Art Prize, Bayside Painting Prize, The Agendo Art Prize and The Mandorla Art Award. Two of Hewitt's works reside in the The Art Gallery of Western Australia's permanent State Collection.
Moving between varying degrees of abstraction, Hewitt’s paintings are marked by her development of expressive colour fields through blending and layering—manifestations of introspective and often cathartic processes of mixing, adding and scraping away matter. Produced in intensive bursts, her work is intensely personal but intuitively engages with collective experience, often poking holes in the social facades and constructed realities that obscure meaning and betray connection. She finds solace in the vastness of the Western Australian landscape, and her paintings reflect the nuanced and inextricable relationship between her outside and inside worlds as well as ongoing existential, mythological and astrological inquiry. If Hewitt’s canvases can be read as kinds of landscapes themselves—depictions of emotional, physical and metaphysical terrain—then they are more than mere reflections. They are loaded with an acute disquiet that simmers just below the surface beauty of the environment from which they come. Hewitt is a sceptical optimist, and as an artist she is led to interrogate and rebel against the more problematic perceptions and attitudes beauty can produce. Her paintings attempt to delight but also delve deep into human experience and permit confrontation of its complexity.
Roil - Essay by Clare Longley
Do the paintings look like they're on the verge of coming together, starting to form or like there’s a potential or form just out of reach. This is a question written to me over email by Jordy Hewitt. At least it resembles a question, though it bears no question mark. As a painter, I feel affectionate toward this statement disguised as a question. It signals something about the difficult process of bringing forth into the gaze of another (or the big Other) something previously private. The process of attempting to render intelligible that which is unintelligible, and reaching across the difference between what ‘I’ make and what ‘you’ make, or make of it.
To roil might look like dragging one’s finger through a puddle to watch as sediment becomes unsettled, forming clouds beneath the shimmering surface. It could also look like Hewitt in her studio, swirling a brush around in a jar of old medium, changing the liquid from crystal to opaque with muddy pigment from the day before. To roil is to stir up, disturb, disorder. Perhaps a dream is the roiling of one’s unconscious. One watches, eyes closed, as chains of signifiers spin loosely together to form a sleepy sentence. In roiling pigment or one’s unconscious, like with sublimation both chemical and creative, something is elevated and transmuted.
Though here I am placing little pieces of language around Hewitt’s paintings, the paintings themselves resist language and symbol. Like Hewitt’s question suggests, they flirt with representation through formal tensions and ambiguities, but never quite plant the kiss. Looking at Roil VIII, I find myself tapping ‘Monet’s haystacks’ into a new tab, or thinking about the waxy quality of a Clarice Beckett painting as I linger on the oxide green and warm lilac of Roil I. Like an impressionist captures momentary vibrations of light and colour, Hewitt’s paintings are attuned to processes of sensation, continuously becoming, and becoming material.