Sydney-based artist Amanda Jones brings a refreshingly offbeat perspective to the Australian art scene, blending bold colour choices with captivating aphorisms that reflect her wealth of real-life experience. Inspired by her self-published “Diary of a Freelancer,” Jones’ work resonates globally, touching hearts with her profound and relatable messages.

Amanda, your work is described as a “refreshingly left of centre take on work and life.” Could you walk us through your creative process? How do you translate your experiences and aphorisms into visual art?

I love this description of my work. ‘Left of centre’ comes from a good friend of mine who always describes me in this way. Honestly I just feel centred, it’s only since I’ve started putting words and art into the world that I’ve realised I’m possibly on a different page to most (that’s a book pun, we’ve started this interview strong).

My process always begins with waiting in some way or another. Making space. Usually circulating a wisp of idea in the background of my mind over a number of days or weeks or months as is needed. Once the idea bursts into a clear vision, I know exactly what I need to do. Then I get to work. Sometimes the burst never comes and I have to start the work anyway, those times might require a more playful approach. Listening to what the art wants to be. It’s important to stay gentle and make lots of room for play.

“Diary of a Freelancer” seems to have been a pivotal point for your artistic expression. What were the key moments or ideas from the diary that directly influenced your artwork?

Writing the book was easy. It came through me more than from me. Also every page is from my real life journal at that time of freelancing. Publishing it, on the other hand, was the steep up hill (or rather mountain) climb, that took years and lots of heart break mixed with delight. It felt like forging this book into the earth. The other side of that mountain climb has been an abundant garden of dreams. My unexpected art practice is just one of the dreams that have blossomed.

For the first anniversary of the book I threw a birthday party in my studio and painted 18 of my favourite aphorisms, I was completely shocked when they all sold, two of them selling in Canada and London on opening night!

The aphorisms regularly remind me of my own convictions. They are like a guide book for my creative work, or maybe emotional work. The ideas in the book direct my steps in a very practical way. My to-do list growing long? Make poetry of her. Feeling myself pushing into rush? Walk slow, breathe deeply.

Your use of unique and bold color choices is striking. How do you choose your color palette, and what role do you feel color plays in conveying the emotions behind your work?

Thank you! The arrival of colour was such a surprise to me. I typically lean towards natural tones and calming shades. Bold colour has been a playful rebellion to my sensible self. The tangible emergence of play and laughter. Colour really ignites a wonderful part of our imagination. It’s important to be resting your eyes on the right colours. I am very specific about getting the exact hues, it’s one of the only areas in my practice where I become detail driven. The difference of a few shades can tell two completely different stories. It’s my job to make sure all the colours in a piece are telling the right story.

You work out of your studio on the Northern Beaches. How does this environment influence your art, and do you think your surroundings are reflected in the themes or styles of your work?

The ocean is the ultimate teacher of rhythm. Constant but never the same. From my bedroom window, I’ve been privilege to a wide view of the ocean and a decade of sun and moon rises over the wobbly horizon. The alignment of the daily and monthly rhythm is everything in creative longevity. Living seaside has taught me how to rejuvenate my imagination after the depletion of creative work.

Your art includes captivating aphorisms like “Everything you do, do it with soul.” What is the importance of these messages in your artwork, and how do you hope they resonate with your audience?

I am still amazed when a piece is captivating to someone else. I write what is captivating to me, because I need to get the memo. Not because I have it all figured out. Originally the words started flowing during a personal unlearning of toxic methods of creativity that I had absorbed. Painting the poetry has become a way for that unlearning to stretch into real spaces in a very dynamic way. I love that my unlearning is now in studios, workshops and waiting rooms all around the world, not to mention the honour of being in someone’s most personal space, their home.

You’ve received acclaim from various corners, how has public and critical reception affected your approach to your art, if at all?

I literally pinch myself every day. I am so baffled at the doors that have been opened through this book and my art. However I don’t think it’s really affected my practice directly. The only attention that really impacts me is when people tell me stories of connecting with my work in their real life situation. That is really the magic, and I do allow it to guide me.

Looking ahead, are there new themes or techniques you are excited to explore in your upcoming works? How do you see your art evolving in the near future?

So much! I am currently dancing my practice into the cosmos of oil paints. It’s a lovely and slow medium, that reaches new heights of vibrant hues. I am smitten. We are also working with framing studios in London and New York to have my original works custom framed for international collectors (I am very lucky to already be working locally with a truly skilled framing workshop, who is also my studio neighbour). I have some big collaborations arriving too, but they are still a secret and I’m contractually obliged to not talk about them (oops!).

See more at itbpr.space

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