Meet Stephen Robert Johns | Fine Art Painter

We had the good fortune of connecting with Stephen Robert Johns and we’ve shared our conversation below.

Hi Stephen Robert Johns, we’d love to hear about how you approach risk and risk-taking
Risk taking, yeah, that goes with starting your own business-I imagine any business. And, along with the risk taking are the insecurities that go with it. As an artist, the risks are many, from creating a body of work, taking that first step to present your art to a gallery, then to present it to the public in an exhibition. It’s a super difficult process, since most galleries already represent many artists, and really don’t have the time or need to look at a new artist’s work. Of course gallery directors review new artists’ work, but for an artist, understanding how and when, is nearly impossible. I began painting in my studio in 1972. That’s (50) years of introducing my art to galleries, and, (50) years of rejection letters. But, along with the rejections there were acceptance letters, sales, reproductions of my art for limited editions, fabric patterns, and exhibitions.

Let’s talk shop? Tell us more about your career, what can you share with our community?
While in my last year at Cal Arts, I was delegated to doing studio time, which ended up being my garage, so during breaks, I took time to visit LA exhibitions and see what was being shown in LA galleries. I noticed there weren’t too many bold color studies and not many geometric studies as well. And size…with all of the new architecture going up in LA, I saw the need for making work in scale with the large walls in hotel lobbies, etc. it was then that I decided to make bigger than life paintings depicting geometric studies of gradating colors. Some were modular, with eight (6’x7′) paintings, making a 12×28′ size. One commission led to another, including Hyatt Hotel Regency New Orleans, and I really felt like all of my art studies had finally paid off, where I not only could make a living painting my art, but I also achieved a high level of creativity that I never had experienced before. The years were 1972-77. During this time period I learned more about color and geometry thru trial and error, something impossible for me to do to do in school. I created my own drawing compass to make large circles. and mastered the use of everyday masking tape to create very clean, hard edge lines between colors. I also hand brush multiple coats of acrylic color, upon color, to create an even application of pigment without streaks or bleeds. My subject matter has evolved over the years, from basic geometry such as “square within a square”, to repeat patterns, and multi-directional concentric curves, creating interlocking movement and color relationships. In 1998, I first flew to Costa Rica. While in flight, I drew on air sickness bags, the topography below. That whole process reminded me of 20, 40 and 60 second drawing sessions in drawing class, at Chouinard Art Institute. Hundreds of drawings became models for my paintings. I am very proud of my work, how it progressed, or degressed over the years. It was never easy, but if you are passionate about something, such as making art, as I am, then yeah, it has all been well worthwhile.

Let’s say your best friend was visiting the area and you wanted to show them the best time ever. Where would you take them? Give us a little itinerary – say it was a week long trip, where would you eat, drink, visit, hang out, etc.
That’s easy. I have ‘artist friends’ visiting from all over the world. I first like to go to downtown Los Angeles, Little Tokyo, specifically. Eating is an adventure in Little Tokyo, and takes way some of the mystery LA pulses out daily, only because LA is so big and the cultures represented in LA are so diverse. All great food! A short walk from Little Tokyo is Phillipe’s for corned beef sandwiches and cole slaw, or the LA Market place. The Eli Broad and MOCA. A short drive away is Hollywood. I start at the Kodak Theatre/Chinese TheatreHollywood Stars lining Hollywood Blvd sidewalks, up to Mussos and Franks for Martinis and chops for an early dinner, catch a glimpse of a celeb or two, and enjoy what fine dining used to be like once upon a time…I’m a lifelong beach bum. The smell of salt air, the huge cool pacific ocean. Surfing would always come into play. Hiking in the local Santa Monica mountains and of course the Santa Monica Pier/Boardwalk/Venice walk. The desert (Joshua Tree) another time.

The Shoutout series is all about recognizing that our success and where we are in life is at least somewhat thanks to the efforts, support, mentorship, love and encouragement of others. So is there someone that you want to dedicate your shoutout to?
MY SHOUTOUT! One of the most important people in my professional art career is Lydia Takeshita, former director of LA Artcore Gallery. Lydia asked me to join her gallery in 1990. At that time I was teaching art at Barnsdall Park and at LACMA, through two teaching programs, developed by doctor Mary Martz and Al Nodal of Los Angeles Department of Culture Affairs; & Molly Barnes, Independent Curator and Gallery Director, based in Los Angeles & New York. I actually met these four individuals around the same time, while I was teaching.

Lydia Takeshita took a strong interest in my painting, (I was a referral thru a mutual friend), and a welcome opportunity to show a select series of my paintings in a gallery venue. I had recently moved into a new LA studio, but I was teaching weekly, with no time to create my own paintings. I taught for nearly 9 years, working with physically and mentally challenged students as well as local, gifted children in Hollywood (Barnsdall Park), Los Angeles, San Fernando Valley, and the Palos Verdes Art Center. My lesson plans were basically simplified lessons I learned at Chouinard and Cal Arts. I balanced teaching and doing my own studio work until my own paintings took precedent and I relinquished my teaching duties.

I first received multiple group shows, and a solo exhibition from LA Artcore before I was selected as a fellowship recipient from LA Artcore in 1998. I was sent to Costa Rica for six weeks to create my art at the Julia and David White Artists’ Colony. Located in the center of the country, and 30 minutes from the capital, San Jose, Ciudad Colon is a sleepy agricultural community on the fringe of the dry, mountainous rainforest. The art colony grounds are about 21 hillside acres with hiking paths with bananas, tangerine (Mandarina), and many other varieties of Costa Rican trees and fruit trees, and a swimming pool.

The two large second story art studios and two smaller studios below, are all self sufficient with sleeping quarters, a full kitchen and bathroom. Going downtown (taxi or short walking distance), has excellent markets, dining, & Antonitos comes to mind. Excellent Seafood, seafood soup, smoothies are fantastic.

Over the past 24 years, LA Artcore Gallery selected my paintings for group, solo and (08) international museum exhibitions in Japan. I am so grateful for the museum exhibitions in Japan, and three fellowships to create my art in my own Costa Rica studio. I still continue to make my art at the Costa Rica Artists’ Colony, yearly.

In 1998, during my first LA Artcore solo show of my geometric color field studies, I met Molly Barnes. Molly also took a strong interest in my paintings, and offered to write an essay interview for my first catalog. also encouraging me to travel to New York, which I did. From that NY trip grew friendships with Molly, NY artist Will Barnet and inclusion to group shows with Denise Bibro Fine Art, Kathryn Rich Perlow Gallery and a first place recognition in a Juried show at the Roger Smith Hotel Gallery, from curator Molly Barnes & ATOA (Artists Talk on Art 2005).

Website: www.srjart.com

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