Julian Jones creates abstract textile art, he tells his story in code to protect his narrative from the world around him. Working in textiles connects him to his family history full of folks who loved fashion and fabrics.
How did you find yourself on an artist’s path? Always there? Lightbulb moment? Dragged kicking and screaming? Evolving?
I come from a family of makers- musicians, artists, cooks, and creative entrepreneurs. I feel that I was born to be an artist. At the age of 7, I was involved in a dance company (Iibada Dance Company) in Indianapolis, IN. I joined the church drill team and children’s choir. I was always around creativity that then merged into a passion and career later in life.
I believe being around my grandmother helped shape my interest in fiber arts. Learning about my great grandma Elsie, who was the family quilter, inspired me to continue her legacy and revisit my family roots to learn more about where my family comes from historically.
Tell us more about how your great-grandmother influenced your creativity.
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My great-grandmother Elsie passed away when I was 3 years old. I remember meeting her when she was really sick. I never had the opportunity to have a conversation with her. Now, I hear stories about her from my mom, grandmother and my great aunt who tell me that we share many similarities.
We also share the same birthday, December 25th. I didn’t know that until recently. When my great aunt told me that I just cried. Elsie inspired me in many ways. She helped me realize that I have a unique voice and not to be scared to create my own path for myself and my work. Elsie had a unique voice, so why can’t I?
You grew up in a neighborhood on the northside of Indianapolis. How do your experiences as a child show up in your work today?
My art practice today is strongly influenced by my childhood experiences. I believe being shy, quiet, and timid definitely contributes to my youthful abstract style.
I use abstraction as a way to tell my story in code and keep my narrative protected from the negative world around me.
The neighborhood where I grew up was not an inspiration to me. I felt alone, and judged from my peers, forcing me to be isolated from others. My parents didn’t expose me to hip-hop and the Black culture.
Now, as an adult I love and appreciate all aspects of my Black culture. God gifted me a wonderful ability to speak through my past in a creative way. Everything that I’ve endured in the past shapes my work today.
Why fiber art? What is it about working with textiles?
Textiles, at an early age, always sparked my interest. I remember going shopping with my parents and being amazed with the sparkly dresses, suits, sequins, and the current campaign posters for high fashion brands.
Later in life, I expressed interest in fashion photography and transitioned into fiber arts. Working in textiles allows me to connect with my family history. I come from a family of fashion lovers and it only makes sense for me to continue the family legacy.
Do you plan your work out ahead of time, or do you just dive in with your materials and start playing?
Because my textiles are custom made, I have to plan ahead to determine the size of the quilt to order the right sizes of textiles for each quilt. All of my textiles are ordered from a third-party manufacturer. I go into each project thinking ahead and deciding on a textile design which can be a long and stressful process.
Are you a “finisher”? How many UFOs do you think you have?
Yes and No. I do have pieces that have never been seen because I didn’t finish them or didn’t like the quilt half way into the top stitching process. I can sense in the early stages of my work if I will like or dislike the piece.
If I really like a design I will finish the quilt. Now I’m starting to incorporate previously quilted pieces into new quilts. In some of my newest works you will see older pieces reconstructed in new works. So, I’m constantly recycling disliked works into new pieces.
Describe your creative space.
My creative space is my sanctuary. It’s a place for me to think, meditate, and hide from the world. I’m very selective about who I let in my creative space because I only want individuals who respect me and fully understand my artistic voice. On a typical day you will hear music and see me sewing for eight to ten hours.
Scraps. Saver? Or be done with them?
I am absolutely a scrap saver. If a quilt is missing something, I try to incorporate scraps to help revive the piece.
I would say in every quilt that I’ve displayed, there are scrap sections throughout the composition.
How often do you start a new project? Do you work actively on more than one project at a time?
It depends. Lately, I’ve been working on new work for my upcoming solo exhibitions for next year (2025). I try to complete a body of work before I move on to another body of work but sometimes I don’t follow that rule. Lol..
Most times I work on the pieces that I feel like working on and eventually every piece will be completed in a timely way. Lately, I’ve been working on the larger sized pieces first and ending with the smaller scale pieces within the series.
Can you tell us about the inspiration and process of one of your works? How does a new work come about?
Inspiration comes to me in many ways. Mostly, it comes from my mood and how I’m feeling on that particular day.
When I first started quilting it took me days to formulate a new piece. Now, with practice and a boost of confidence I’m more free to express my message. Most of my works come from music inspiration.
For example, one of my favorite hip-hop artists released her fifth studio album last year, on it she has a song entitled “Let Me Calm Down”. Just the meaning of the title sparked a brand new series because I connected with this title. So, work comes to me differently every time. I don’t have a specific process.
Which part of the design process is your favorite? Which part is a challenge for you?
My favorite part of the design process is figuring out the composition of the quilt. It used to be my least favorite but now I absolutely love this part of my art process.
I think the top stitching part is the most challenging because it takes the most time and I have to focus to avoid stupid mistakes.
How does your environment influence your creativity?
My environment is the most important factor when it comes to the contextual content of my practice. My art speaks to the experiences of my Black identity politically, through religion, the jazz and hip-hop culture, and my family’s deep rooted history in the South which are all aspects of my daily life and environment.
Is there an overarching theme that connects all of your work?
The overarching theme throughout my art practice is discovering my Black identity through music, church, and community.
How has your creativity evolved over the years? What triggered the evolution to new media/kinds of work/ways of working?
Many people may not know that fiber arts wasn’t my first medium of interest. I was a photography major during my undergraduate studies at Herron School of Art + Design. My fiber practice was born during my graduate school studies at Cranbrook Academy of Art. Reflecting back to older works, my style has evolved. I believe my style is more mature and confident now and I don’t overthink my process anymore.
What’s the best piece of advice you’ve received?
I have received great feedback throughout the years from a variety of art colleagues and artists who I admire and love. Chris Fraser, Paula Katz, Shauta Marsh, Polina Osherov, Emmy Bright, and Mark Newport to name a few.
The conversations that still resonate with me are the conversations with Akea Brionne during our time in graduate school at Cranbrook Academy of Art. At the time I wasn’t exhibiting and I was fairly new to the fine art world.
Fast forwarding, a lot of what Akea talked about then I’m applying now. I’m so grateful for her and really happy for her progressing career and where she is now. Also, I appreciate conversations with Kia Davis, my studio manager who continues to push and motivate me to be the best person I can be.
Where can people see your work?
You can currently see my work in the collections wing at the Cranbrook Art Museum (Bloomfield Hills, MI) and the Richmond Art Museum (Richmond, IN). In 2025, I have great solo exhibition opportunities. You can keep up with me on Instagram: @julianjones.studios and my website: www.julianjamaaljones.format.com
What artists inspire you?
I look up to many artists but specifically Black males who work in abstraction through painting and textiles. I absolutely admire Eric N. Mack, Paul Verdell, Sam Gulliam, Diedrick Brackens, Will Maxen, Stanley Whitney, Cy Gavin, Basil Kincaid, McArthur Binion, Rush Baker IV, and Justin Chance.
Interview posted October 2024
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