Interview
Perspective on being an artist in 2020: AN INTERVIEW WITH Jack Flo
BY Julianna Holshue, Thomas Laporte, & Dominick Marconi
MARCH 2021
According to Jack Flo, “art is history, it tells time,” and during this unprecedented year of 2020, Jack has used his art to express and record his experiences. As an artist, he believes he has the obligation to do so; Jack is not only an artist, but an activist too. As an ally of the Black Lives Matter movement, he has used his platform to amplify Black voices during our nation’s current civil unrest because he believes “to create art and ignore the current state of the world would be a great injustice.” In this interview, Jack further explores how his inspirations and roles as an artist and activist feed his creativity and drive his passion.
Glassworks Magazine (GM): In a 2019 interview with Kristyn Potter of Left Bank Magazine, you stated “I’ve always been an artist, drawing, coloring, and painting ever since I was a child. I’ve always been a creative person expressing myself visually. But it was really around 2017 when I decided to start painting again and began to pursue a career as an artist.” What triggered this career pursuit and is art now the focus of your career?
Jack Flo (JF): This career pursuit was triggered by my desire to create art. Yes, I have been an artist my entire life, but I initially had other career plans. I attended the University of Pittsburgh, graduating in 2014 with the intention of going to dental school. That didn’t work out, at which point I decided to follow my roots into art and design. For a few years I freelanced as a graphic designer and then began to miss the feeling of creating my own art. So, I bought some paint and began to paint. Not long after, I sold a painting to an art collector which gave me the confidence to build a career around my artwork. At this point, art is now the focus of my life.
Jack Flo (JF): This career pursuit was triggered by my desire to create art. Yes, I have been an artist my entire life, but I initially had other career plans. I attended the University of Pittsburgh, graduating in 2014 with the intention of going to dental school. That didn’t work out, at which point I decided to follow my roots into art and design. For a few years I freelanced as a graphic designer and then began to miss the feeling of creating my own art. So, I bought some paint and began to paint. Not long after, I sold a painting to an art collector which gave me the confidence to build a career around my artwork. At this point, art is now the focus of my life.
GM: Our editors believe your art advocates for social justice and diversity as many of your subjects are Black Indigenous People of Color (BIPOC) pop-culture idols, artists, singers, rappers, athletes, and so on. Your subjects in paintings such as Serena Williams, Lauryn Hill, and Will Smith are cultural idols. Do you believe these celebrities have an obligation to fight for social justice? What is your thought process when deciding how to advocate for social justice?
JF: I chose to paint people that have inspired me in some way. Sports and music continue to be some of my greatest sources of inspiration. I don’t believe that pop-culture celebrities, musicians and athletes have a responsibility to lead in diversity but, what I find so inspiring about the people that I choose to paint is that they do take on that responsibility and impact change. I wouldn’t say celebrities have an obligation to fight for social justice. They are free to do whatever they want. What I find inspiring from them is how they use their voice in the fight for change. I listen to Lauryn Hill every day. Her music has taught me so many lessons. Lauryn says that, “Fantasy is what people want, but reality is what they need.” Similarly, in the creation of my art, I paint reality as I see it, using different angles, vantage points and perspectives to shine light on and pay homage to those who have inspired me.
JF: I chose to paint people that have inspired me in some way. Sports and music continue to be some of my greatest sources of inspiration. I don’t believe that pop-culture celebrities, musicians and athletes have a responsibility to lead in diversity but, what I find so inspiring about the people that I choose to paint is that they do take on that responsibility and impact change. I wouldn’t say celebrities have an obligation to fight for social justice. They are free to do whatever they want. What I find inspiring from them is how they use their voice in the fight for change. I listen to Lauryn Hill every day. Her music has taught me so many lessons. Lauryn says that, “Fantasy is what people want, but reality is what they need.” Similarly, in the creation of my art, I paint reality as I see it, using different angles, vantage points and perspectives to shine light on and pay homage to those who have inspired me.
"I don’t believe that pop-culture celebrities, musicians and athletes have a responsibility to lead in diversity but, what I find so inspiring about the people that I choose to paint is that they do take on that responsibility and impact change."
GM: You were able to have your painting “Tupac Shakur” in the “Time2Play” exhibition displayed at the White Room Gallery in New York City during the Covid-19 pandemic; has the pandemic changed how you share your art? Did you paint knowing those paintings would be displayed in a gallery?
JF: I think the pandemic has definitely changed the way everyone shares their art. Although some things are opening up now, it’s been tough for people to go out and see art. A lot of the focus has been shifted to virtual art exhibits and establishing a strong online presence. I’ve always been consistent with sharing my work online so not much has changed there.
In March of 2020, The White Room Gallery saw my work and wanted the Tupac painting for their show. Unfortunately, the show only lasted a few days before everything went into lockdown. Then in October, the gallery asked to show it again for their “Time2Play” exhibit. Opening night had a good turnout despite taking place during a pandemic. It was really nice to see Tupac back up on their wall again and hopefully it will find a new home soon.
GM: In your series “Masked,” you drew faces that were split; one half was realistic and the other half was Picasso-esque in style. Can you discuss this choice as well as the series title “Masked”? Was this series inspired by the pandemic, or was it already in the works prior to Covid?
JF: This series was started in 2019, before the pandemic. It’s a series of portraits that started as my search for the different levels and layers of humanity that exist within a single moment. Although this series is titled “Masked”, I describe the visualization of these layers as a matter of perspective. My work is born from contemplation into perspective; we are not the same person we were ten years ago, last year, or even yesterday. What defines us as an individual may differ from moment to moment. This is where the term “Masked” comes from. Who am I, the individual? How do I identify myself at this very moment? There are a lot of forces at play and sometimes we may find ourselves wearing a mask, even if we don’t realize it. I love when people ask, which side is actually the “real” side? Although one side of the painting may look human, is that actually who you really are?
GM: Your painting, “Colin Kaepernick,” references one of the biggest advocates for the Black Lives Matter movement. Are these political motivations behind your work a reaction to current events (protests, marches, and activism)? Why has your art become political?
JF: This piece in particular, was definitely a reaction to what’s going on in the United States right now. I have a lot to say, but as a visual artist expressing myself through images is the best way to communicate my message. My art can be interpreted as political because the people I chose to paint, like Kaepernick, have taken a strong political stance on critical issues. I also believe artists have an obligation to comment on the times they live in through their art. Art is history, it tells time. To create art and ignore the current state of the world would be a great injustice. Colin Kaepernick risked his professional career in order to bring awareness to police brutality. There were professional athletes before Kaepernick that protested the national anthem, and for some of them that marked the end of their career. Colin Kaepernick kneeling during the national anthem was not anti-American, but rather a righteous act of freedom; something I believe in for all humanity and one that I find overwhelmingly inspirational.
JF: I think the pandemic has definitely changed the way everyone shares their art. Although some things are opening up now, it’s been tough for people to go out and see art. A lot of the focus has been shifted to virtual art exhibits and establishing a strong online presence. I’ve always been consistent with sharing my work online so not much has changed there.
In March of 2020, The White Room Gallery saw my work and wanted the Tupac painting for their show. Unfortunately, the show only lasted a few days before everything went into lockdown. Then in October, the gallery asked to show it again for their “Time2Play” exhibit. Opening night had a good turnout despite taking place during a pandemic. It was really nice to see Tupac back up on their wall again and hopefully it will find a new home soon.
GM: In your series “Masked,” you drew faces that were split; one half was realistic and the other half was Picasso-esque in style. Can you discuss this choice as well as the series title “Masked”? Was this series inspired by the pandemic, or was it already in the works prior to Covid?
JF: This series was started in 2019, before the pandemic. It’s a series of portraits that started as my search for the different levels and layers of humanity that exist within a single moment. Although this series is titled “Masked”, I describe the visualization of these layers as a matter of perspective. My work is born from contemplation into perspective; we are not the same person we were ten years ago, last year, or even yesterday. What defines us as an individual may differ from moment to moment. This is where the term “Masked” comes from. Who am I, the individual? How do I identify myself at this very moment? There are a lot of forces at play and sometimes we may find ourselves wearing a mask, even if we don’t realize it. I love when people ask, which side is actually the “real” side? Although one side of the painting may look human, is that actually who you really are?
GM: Your painting, “Colin Kaepernick,” references one of the biggest advocates for the Black Lives Matter movement. Are these political motivations behind your work a reaction to current events (protests, marches, and activism)? Why has your art become political?
JF: This piece in particular, was definitely a reaction to what’s going on in the United States right now. I have a lot to say, but as a visual artist expressing myself through images is the best way to communicate my message. My art can be interpreted as political because the people I chose to paint, like Kaepernick, have taken a strong political stance on critical issues. I also believe artists have an obligation to comment on the times they live in through their art. Art is history, it tells time. To create art and ignore the current state of the world would be a great injustice. Colin Kaepernick risked his professional career in order to bring awareness to police brutality. There were professional athletes before Kaepernick that protested the national anthem, and for some of them that marked the end of their career. Colin Kaepernick kneeling during the national anthem was not anti-American, but rather a righteous act of freedom; something I believe in for all humanity and one that I find overwhelmingly inspirational.
"To create art and ignore the current state of the world would be a great injustice."
GM: In your painting, “Woman in Blue,” the female subject is naked (her breasts are exposed) and she is “missing” half of her face. One of our editors interpreted this as an expression of frustration about the fixation on physical appearances over emotional well-being. Do you feel that this interpretation fits? Is this subject important to you in general or just to this work in particular?
JF: I understand why someone might interpret this painting as an expression of frustration. This piece was one of the first paintings I started working on once the pandemic lockdown was put in place. I was frustrated and sad about a lot of things during that time. We were all trapped, only able to be with each other through social media and zoom calls. For this piece, the relationship between physical appearance and emotional well-being is as much about frustration as it is about the contrast of one side of ourselves with the other.
As for the subject, it’s important to this work in particular. It was modeled off of Emily Ratajkowski. I thought her incredible beauty would contrast well with the frustration and pain I was feeling and trying to convey.
JF: I understand why someone might interpret this painting as an expression of frustration. This piece was one of the first paintings I started working on once the pandemic lockdown was put in place. I was frustrated and sad about a lot of things during that time. We were all trapped, only able to be with each other through social media and zoom calls. For this piece, the relationship between physical appearance and emotional well-being is as much about frustration as it is about the contrast of one side of ourselves with the other.
As for the subject, it’s important to this work in particular. It was modeled off of Emily Ratajkowski. I thought her incredible beauty would contrast well with the frustration and pain I was feeling and trying to convey.
"As a white guy in America it is my responsibility to use my voice as an ally. Whether it’s contributing to a town mural or painting portraits of heroes like Colin Kaepernick. As an artist, my art is my voice."
GM: On your Instagram account (@theartistjackflo), you post pictures of your creative process as well as your final products. Do you consider yourself an “Instagram Artist”? Or do you rely on art galleries? Which is your preferred way to share your art?
JF: I don’t consider myself an “Instagram Artist” and I don’t care for that term either. If someone has made a career as an artist using Instagram then they are just an artist, there’s no difference. Instagram is a tool to share instantly, for free with the entire world. It’s a beautiful thing. I like to share works in progress and behind the scenes because I find the process really interesting. It makes the work real and shows the human element to it.
When it comes to sharing my art and having people discover it, Instagram has been instrumental. Almost all of my exposure and sales have come from Instagram and it still remains my preferred way of sharing my art. With that being said, I think galleries are still very important. I currently have representation through two galleries, and I love the fact that they stand by my work and do everything they can to have my work seen by collectors.
GM: Is it important for you to create for a particular audience, and if so, who is your intended audience? Is your art trying to communicate a particular message or is it more an act of self-expression?
JF: I think it is important to consider a particular audience. However, I don’t think that the audience should drive the creative process. I want to create art for myself that will then align with other like-minded people that see and think about the world in a similar way. My biggest influences have been sports and music. Those are two things that aside from art, have been constants in my life. I believe people who have a similar musical taste will find things that they appreciate in my artwork. Similarly, sports fans are drawn to my work because I often use athletes as my subject matter. When I first began making art, I approached it with a very simple goal. I just wanted to create something that I thought looked nice. Maybe there was some deeper meaning embedded somewhere, but my primary and conscious object was purely aesthetic. I still try and hold onto that value; however, self-expression has taken more of a primary role. In my work now, I am more aware of different perspectives that exist and look to different periods from art history, particularly impressionism and 70’s and 80’s street-art to inform me.
GM: Do you consider yourself to be an ally of the Black Lives Matter Movement? And how does your artwork play a part in your allyship?
JF: Yes, absolutely, I’m in support of everything that the Black Lives Matter Movement stands for. These issues are very close to me as I grew up in a very racially and culturally diverse community. Just last week, I helped to create a Black Lives Matter street mural in Teaneck, where I live. As a white guy in America it is my responsibility to use my voice as an ally. Whether it’s contributing to a town mural or painting portraits of heroes like Colin Kaepernick. As an artist, my art is my voice.
JF: I don’t consider myself an “Instagram Artist” and I don’t care for that term either. If someone has made a career as an artist using Instagram then they are just an artist, there’s no difference. Instagram is a tool to share instantly, for free with the entire world. It’s a beautiful thing. I like to share works in progress and behind the scenes because I find the process really interesting. It makes the work real and shows the human element to it.
When it comes to sharing my art and having people discover it, Instagram has been instrumental. Almost all of my exposure and sales have come from Instagram and it still remains my preferred way of sharing my art. With that being said, I think galleries are still very important. I currently have representation through two galleries, and I love the fact that they stand by my work and do everything they can to have my work seen by collectors.
GM: Is it important for you to create for a particular audience, and if so, who is your intended audience? Is your art trying to communicate a particular message or is it more an act of self-expression?
JF: I think it is important to consider a particular audience. However, I don’t think that the audience should drive the creative process. I want to create art for myself that will then align with other like-minded people that see and think about the world in a similar way. My biggest influences have been sports and music. Those are two things that aside from art, have been constants in my life. I believe people who have a similar musical taste will find things that they appreciate in my artwork. Similarly, sports fans are drawn to my work because I often use athletes as my subject matter. When I first began making art, I approached it with a very simple goal. I just wanted to create something that I thought looked nice. Maybe there was some deeper meaning embedded somewhere, but my primary and conscious object was purely aesthetic. I still try and hold onto that value; however, self-expression has taken more of a primary role. In my work now, I am more aware of different perspectives that exist and look to different periods from art history, particularly impressionism and 70’s and 80’s street-art to inform me.
GM: Do you consider yourself to be an ally of the Black Lives Matter Movement? And how does your artwork play a part in your allyship?
JF: Yes, absolutely, I’m in support of everything that the Black Lives Matter Movement stands for. These issues are very close to me as I grew up in a very racially and culturally diverse community. Just last week, I helped to create a Black Lives Matter street mural in Teaneck, where I live. As a white guy in America it is my responsibility to use my voice as an ally. Whether it’s contributing to a town mural or painting portraits of heroes like Colin Kaepernick. As an artist, my art is my voice.
Find out more about Flo on his website: jackfloart.com
Follow Jack Flo's Instagram: @theartistjackflo
Follow Jack Flo's Instagram: @theartistjackflo
