Luxuriate In The Mystery: An Exclusive Interview with Oil Painter Jennifer Allnutt
Interview by Elizah Leigh
For the curious, Jenny Allnutt’s decade long journey as a professional artist hasn’t actually included shaking trees in the traditional sense. While the path requires a certain degree of basic marketing, rattling doors in search of opportunities can be challenging for those who are shy. Based on the Australian figurative painter’s belief that the “art can do the talking”, she has - for the better part of her career - channeled the lion’s share of her energy into conjuring distinctively dark, alluringly enigmatic portraits that are impeccably rendered.
Upon receiving entirely unsolicited invitations throughout the years to participate in international group exhibitions, she has made it her business to deliver her Baroque beauties - quite frequently embraced, veiled, or otherwise enshrined in botanical splendour - both conscientiously and professionally. Her gothic muses apparently made enough of a racket on their own that one gallery decided to book Jenny for three solo exhibitions. Thus far, 84% of her work from those shows has been snapped up by collectors, so it’s hardly surprising that the Australian art gallery has already lined her up for yet another solo (slated for 2026).
Jenny Allnutt may not adhere to all of the conventional strategies for contemporary art world success, but for the newly crowned first place winner of the highly esteemed Lethbridge 20000 Small Scale Art Award, quietly wielding her hyper-focused work ethic has indeed paid off. Like the classical poets that she holds in high esteem – many of whom ritualistically humbled themselves before the divine by reciting “a little prayer to the muses for inspiration” – she, too follows suit. Honouring “the rich historical tradition of oil painting” every time she picks up a brush seems entirely fitting for this highly dedicated artist who believes that one’s creative output “should be astonishing”.
Interview with Jenny (Jennifer) Allnutt
Despite being a young artist with many productive years ahead of you, something about your art screams ‘old soul’. Is that a familiar observation or is it somewhat alien?
While attending the opening of a group show several years ago, I was introduced to a collector who was astonished upon realizing that I was much younger than he anticipated. Being described as an old soul is not new to me - even as a child, I was very contemplative and quiet. There are moments when I definitely ‘act my age’, but the truth is that I’m perfectly happy submerging myself in art, books, skulls, scrapbooking, and gardening.
It’s somewhat unusual that as a young girl, you were well aware of the ephemeral nature of our existence. Were you not so happy-go-lucky back then?
I think it’s just part of my nature to be pensive and slightly melancholy. I’m a chronic day dreamer who is always lost in my thoughts.
As cliché as it is to wonder if your spiritual twin is ‘Wednesday Addams…is she?
Wednesday Addams is pretty spot on!
Maybe, on a more optimistic note I would say a Disney princess like Belle from Beauty and the Beast, too. (Side note: Angela Carter’s retelling of that story is brilliant!)
During the creative process, artists are often fond of voraciously digesting audio versions of literary classics. For you, though, it seems like it’s as much of a creativity-sparking ritual as it is an effort to continually better yourself.
When I was newly graduated from high school, I used to borrow books from my grandpa’s collection (I liked Charles Dickens the best). These days, friends often suggest authors, or one book organically leads to the next, or while I’m conducting research for a painting, I stumble onto something of interest. I love a good bibliography!
Is the aesthetic that presently defines your art a product of your love for classical literature and art, or is it simply just a natural reflection of your memento mori steeped soul?
What I paint is very much born from my cumulative life experiences. I’ve been reading about the sublime and I love the idea of terrifying beauty. I think mother nature is often misrepresented as a benevolent, kind entity, when in fact she can be quite wild, dangerous, consuming and relentless.
Perhaps it’s the terror that gives it its beauty?
Flowers are nature’s perfect example of the life cycle and our connection to mortality.
At what point did your gothic meditations really begin to cast your work with its signature shadows?
That visual shift coincided with my Queenstown artist residency in Tasmania many years ago. I became reacquainted with the darker elements that I loved in art school, which continue captivating me to this day.
Despite stepping away from Christianity - which up until your teenage years, was deeply embedded into your educational and familial upbringing - is the ecclesiastical ambiance in your art indicative of how those doctrines continue to linger in your psyche?
When I was younger, I rejected the idea that a book, philosophy, mythos or society should tell me what to believe and how to behave. As silly as it sounds, I do have a slight concern that God will smite me or that bad things will happen if I do unchristian things.
Spirituality has always been an interest of mine though, so painting crosses as part of my Beinart ‘Spectre’ show was an effort to sort of liberate myself from religious guilt and a fear of God.
Your contemplative muses seem to be ensconced within their own botanical houses of worship while seeking guidance, understanding, clarity, and even redemption. Are they serving penance in a sort of ‘in between realm’…or is that realm actually restorative?
Through my paintings, I attempt to touch on a higher dimension or more expansive version of reality that breaks down the barriers standing between the physical and the unconscious. I’m still interested in religions and spiritual practices, but specifically with respect to understanding how humans make sense of their mortality.
Do you regard the act of manifesting art - or gazing reverentially at it - as a form of spiritual worship?
Spiritually, I think I find more meaning in art than in following one faith. Like churches, art galleries have a sense of divinity and transcendence that’s hard to put into words.
You intentionally avoided painting flowers in your earlier career out of concern that your work might be devalued. Then, it seems like the catalyst for your current painterly floral-palooza was a group exhibition theme that triggered an ‘ah ha!’ moment.
Looking back on how long I previously rejected my femininity hurts my soul. When I was starting out, I used to think that painting flowers was a ‘hobby art’ type subject. Then, there was a point when I began bringing bright pink backgrounds into my work.
Around 2016, I slowly began integrating flowers into my compositions, which these days has officially reached obsessive levels.
Despite your former perception that botanicals had a bit of an ‘ick factor’, do you now consider them your signature element?
I suppose they are - it just doesn’t feel right if I don’t include them in my work!
Once I realised how tragically symbolic they could be, my attitude shifted. I adore flowers in real life and I love the technical challenge of capturing their intense range of colors and luminosity on canvas.
Even the most obsessed bloom hound doesn’t have a photographic memory that might allow them to realistically capture every petal. Do you use visual references or artistic license to create your flowers?
I use a lot of reference material, including print outs, a huge library of flowers on my phone, and botanical specimens that I press myself.
When I want to include a uniquely shaped flower in one of my paintings, I create a hybridised version that is either conceived via my mind’s eye or by integrating the most pleasing features of a few different floral images.
You considered becoming a veterinarian many years ago, likely due to your admission that you had a stronger preference for animals (over people). Apart from painting a fox and occasional moths/butterflies, why aren’t animals a more common element in your work?
During art school, I painted animals quite frequently. I’m not sure when I stopped. What intrigues me at the moment seems to drive what I paint, which these days is flowers and bugs.
All three of your solo shows - each one sparked by extensive research - seem like beautifully heady gothic adorations.
My art - which provides me with a sacred space to commune with my mind, soul and heart - is very personal.
I like stories and narratives since they help make meaning out of something intangible. Learning about the circumstances surrounding the Semper Augustus tulip, for example, inspired the work that I created for my 2022 solo. I regard that flower as a symbol of love. It’s transient in life, but in paint, it is everlasting. The red stripes - like dripping blood - remind me that love can be painful, and the shape of the tulip - like a glass of wine - reminds me that it should be savoured.
Is the research process unfailingly essential to your conceptual preparation, or do you ever tackle a new painting with an impromptu approach?
Researching and art making go hand in hand - I couldn’t have one without the other.
Keeping an art journal is also very important to me. I always do thumbnails and preparatory sketches before I start a painting because I like to follow some traditional rules to work out my compositions.
In light of having a somewhat memento mori mindset, do you live each day trying to cram in as much art as possible…‘just in case’?
Occasionally, I do have that mindset!
As a rule, I try to fit painting into my schedule every single day. I also consider the average time that a professional artist paints daily, and then I try to beat that! I spend most of my free time on my art practice.
Since you’re no stranger to inner contemplations, is your artistic legacy another topic that marinates in your mind?
I aim for my work to have universally resonating themes that will transcend time, though that is more of a personal notion of what art should be rather than a fascination with my own legacy.
Many oil painters freely admit that the way they craft their work today is vastly different than how they did it ‘back in the day’. How did you arrive at your current oil painting process?
Despite going to university for art, I’m practically self-taught. Since my goal is to create work that will last 100+ years, I continue to read a lot of books, talk to other artists (including my partner, who is also a painter!), and experiment with different techniques.
I’ve learned the most practical knowledge by taking workshops with Robin Eley, David Kassan and Shana Levenson.
What is the coolest thing about sharing your life with an artist?
When we first started dating, I told him that art comes first for me and he totally understood. Being able to talk endlessly about art with someone you love is great. He can relate to the sacrificial drive to make art at all costs - the struggles and the triumphs.
What ‘reality’ about being an artist isn’t so romantic?
I’m not gonna sugarcoat it. Being an artist isn’t necessarily a chore, day to day, but it’s not always fun!
It is difficult to find balance between making a living and making art.
Art is more often like a marathon with little struggles along the way. Sometimes it can be hard to motivate yourself just to get started. Procrastination often comes with the territory, especially with respect to the administration side of things, which I’m not really fond of.
"A Pagan's Prayer to the Muses" (above) - which is easily one of the most thoughtfully conceived and beautifully executed paintings that you’ve created to date - earned you the top prize in this year’s highly regarded Lethbridge 20000 Small Scale Art Award. Huge congratulations to you!
Sometimes childhood dreams really do come true! Being recognised by Lethbridge Gallery has been mind-blowing and incredibly significant to me.
When I heard them announce my name, a wave of shock ran through me. I was asking myself, ‘is this really happening?!’, and of course I lost all control of my composure and began ugly crying!
Did that remarkable achievement snuff out whatever bit of imposter syndrome was previously plaguing you in the dead of night?
Actually, I think the doubts, negative dialogue and imposter syndrome really start to shine the further you go along! Having exacting standards can be a gift, but it’s also my worst enemy since there’s always a higher artistic level – an artist’s magnum opus - that I want to reach. The struggle is a masochistic kind of joy.
Winning a $20,000 merit-based art prize is affirming on a number of levels, but the most obvious benefit is the fiscal flexibility that it offers. However, given the high cost of living these days, does that award end up being more of a symbolic gesture of support for your art career, or does it sufficiently cover the cost of the materials that you need to propel your practice forward?
Since I live very frugally, the prize money really does make a huge difference - it will help me cover my expenses for one year.
It’s given me the opportunity to take more time off from my day job so that I can focus on my art career and invest in some things that I sorely need, like a computer!
Do you believe that if an artist wants to continue rising to greater heights in their career, entering art competitions (and winning awards) is essential?
It certainly shifts your mind as an artist - some of my recent successes have made me more fiercely motivated in my career. I can now see myself as a real contender in art prizes, so some of the fear-based barriers that I put on myself have fallen away.
It certainly seems like you live, breathe, and eat art.
I strongly relate to the idea of Ikigai - the Japanese term for a sense of purpose and motivation in life - which definitely applies my art practice. It is a meaningful, life-enriching pursuit that has also helped me through tough times.
What would you say to those who are dying to finding out the magical formula for creating desirable art?
It’s so rewarding and affirming when people buy my art, but I honestly have no idea what collectors want. I just paint what I want to paint!
In what way is the artistic authenticity of Jenny Allnutt circa 2024 markedly different from your former ‘fresh on the art scene’ self?
People can tell when your heart really isn’t in your art. Meanwhile, when you lovingly spend hours upon hours creating a painting, it’s obvious. Being authentic to who you are and avoiding traps that might degrade your integrity is key. I won’t commit to anything that I can’t put my soul into.