- On the skin: Clown Portraits
I started the “Clown Portraits” series with the idea that everyone has an inner landscape. At the time, I was running workshops allowing people to express their artistic visions and I wanted to find a way to incorporate their visions into my own artwork. So, I asked each model to draw on their face their own inner world with face pencils. With a childlike feeling, more or less consciously, they discovered their clown and gave him a name. The clown is a very ambiguous figure as it reflects both our deep dark feelings as well as our shiny side. I believe those portraits are very revealing and each one happened through a visible collaboration.
- Around the face: Landscape Portraits
After the “Clown Portraits”, I had the desire to experiment with my clairvoyance. I decided to take back the task I had given to my models, the task being to paint their inner world, and just like a psychic, I would go and look inside their eyes and share what I saw through shapes and colours that I would display around their face. It became the “Landscape Portraits”.
This is how I would describe the process to them: “A landscape portrait is a portrait that honours your outer landscape, your lines, colours and shapes as well as your inner landscape, your dreams, passions and pathways.”
- “Healing Landscape Portraits”
A short documentary made by Dominika Martincova to show the process of the making of a Landscape Portrait, 2013.
“When visiting Juliette for my clown portrait I didn’t know what to expect. And, I don’t see myself as a very jolly or silly person, or funny in a clownish way, but I liked the challenge of trying to be a clown or find out what kind of clown I might be.
We spent a while dancing and connecting to energies of the inner self and to each other…I don’t remember exactly how, but it made me feel grounded and present in the moment, and present with myself. I kept hold of this feeling when sitting down and putting clown make-up on my face.
I still did not know what clown I would be or what I would be painting, but I trusted that it would present itself. I felt a bit crazy and a bit sad and a bit excited about the universe and myself, and about anything being always possible. I chose blue eye brows and big red lips with a smudge, and dark tears running down the white painted face. I remembered a dream I had had of my own eye looking at myself deeply, and I added it on my forehead.
I was confident about what I needed, and then enjoyed the long sitting for Juliette to paint the portrait. It feels very personal and very close and very intimate in a way to look at the artist for such a long time, and her studying and portraying me, and without knowing what the result may be…
When I saw the finished painting I thought I was looking at a male version of myself, a little bit crazy and with a deep sadness; I thought it was beautiful and someone from inside me was looking at me. The slightly mad person I am, the slightly male person I am, and the beautiful sadness that is sleeping inside. I liked it so much and thought it belonged to me.
I love having it in my room and looking at it. Many friends have not seen the likeness, but to me it is me. Thank you.” Imke Elstner, BBC consultant
“Juliette said she wanted to do my portrait
Juliette stood in front of me being a wave
Juliette danced with me
Juliette looked me in the eyes forever
Juliette heard me
Juliette felt me
Juliette felt my being
Juliette absorbed me
Thank you Juliette for a beautiful piece of me“
Bob Loyal, 25/01/13