August 2, 2022 • 31 mins
In this episode, Steph catches up with painter Josh Juett (and Winsor the lorikeet) at his homestudio ahead of his show LOST IN THOUGHT at Praxis Artspace. They chat about the early days of his practice (including his first sale, a seascape for $1 in primary school) and through various artistic and musical influences that Steph definitely had to google later. Tune in to hear about his new work that broaches new mediums and the rationale behind the exhibition.
Show Notes
- Greg Simkins / @Craola
- Alex Pardee / @AlexPardee
- Ron English / @RonEnglish
- Pop surrealism
- Robin Eley / @RobinEleyArtist
- Otto Marseus van Schrieck
- Aesop Rock
- ‘colonize Mars on Earth Day’ (Tetra - Aesop Rock)
- LOST IN THOUGH at praxis ARTSPACE / @praxisARTSPACE
- @JoshJvett
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Steph (00:00):
Hello and welcome to the SALA Podcast. My name is Steph
and today I'm catching up withJosh Juett. I'll just note that
we're catching up in his studio,which is on a traditional lands
of the Kaurna People of whichsovereignty was never ceded, and
these lands are of continuingimportance and acknowledge the
Elders past, present andemerging.
(00:26):
Now, Josh, it's hard to look atyou with a straight face because
you're sitting opposite me witha bird on your shoulder. Who is
this?
Josh (00:34):
This is Windsor.
Steph (00:35):
Okay, cool. All right. Windsor, Josh, great to have you
both on the podcast. All right,well, maybe we should go
chronologically and go back tohow you became an artist:
whether you knew that you wantedto be an artist, or whether it's
something you found your way to.How did that go?
Josh (00:54):
Ah, look, I don't know. I think like most artists, like
you tend to just say that fromwhen you were a kid, you were
engaged with like, differentcreative pursuits, I suppose. Or
you just had an affinity fordifferent types of arts. But
yeah, I don't know. When I wasyounger, my mom used to always
say that I was just like, thekid that would always want to
take home, like a refrigeratorbox from kindy or something. You
(01:18):
know what I mean? Like ifthey're getting a new piece of
appliance or something. So I wasalways bringing home like
Steph (01:22):
...to draw on or just like to be in?
Josh (01:25):
I don't know - to make a cubby out of or something I
suppose?
Steph (01:29):
You could say that you could see the potential in
materials from an early age
Josh (01:33):
Haha yeah I suppose you're right. I think, yeah, I don't
know, I was always obsessed -Isuppose that's why I included so
much of my work now- but likecartoons, especially. And I
always wanted to draw like, Iwas always redrawing like,
Pokemon characters and stufflike that
Steph (01:46):
Oh you were one of those kids.
Josh (01:47):
I was, I was. Um, but yeah, I don't know. I think I
didn't really get into paintinguntil I was a bit older. Because
obviously, that's a little bitmore technical, I suppose. But
yeah, I've always drawn. Yeah, Ididn't I didn't really get into
like painting painting until Iwas like late high school.
Steph (02:08):
Okay, which is still early.
Josh (02:11):
Yeah, I suppose I like I think, like I always drew and
then when I was like, ateenager, and like, graffing was
cool. That kind of like, pulledme back into art. And then like,
I started seeing that there wasa bunch of graffiti artists that
would also do like kind ofcharacter-based work.
Steph (02:29):
Haha you look so unsteady with that bird. No poop on you
yet, but.. you know..
Josh (02:35):
No, there is. There definitely is
Steph (02:37):
Oh there is!
Josh (02:37):
That's totally fine.
Windsor (02:38):
*Chirp*
Steph (02:38):
Sorry, for everyone listening at home.
*giggle*
Josh (02:43):
Um, yeah, I don't know. I think I've just always loved
being creative. Yeah, I don'tknow. And whatever I can't
really, like, before we started,I was telling you about, like,
when I was in school, we'redoing like a drawing class.
Actually, this is a differentone. But like, we're doing a
drawing class. And the teacherasked us to draw, like a sea
(03:04):
scene and the winner of that wona dollar. And I won, and I
suppose that was,
Steph (03:10):
was that the beginning of your art career?!
Josh (03:12):
The beginning of my career
school. I think it probablywould have only been like Year 1
or 2 or something.
Steph (03:19):
Well, you know, that's pretty good. And I heard you
drew a really good bin once.
Josh (03:23):
I did draw a very good bin once. Yeah, I think the bin was
probably more of a big dealbecause I remember like... So as
the sea scene was more of asituation where you made it, and
then you just gave it and thenlike, I just got given a dollar.
And then I was like, you wonwith no real elaboration on it.
But the bin was like, everyone'slike, 'Oh, my God, this bin is
amazing'.
Steph (03:42):
It's interesting, isn't it that you know, having an
audience receiving the workversus it just being done? And
there's no real, like, fanfareor resolution?
Yeah, yeah.
Interesting.
Josh (03:51):
Yeah. It's funny, because I was thinking about it before,
like the idea that the bin...drawing a bin; it kind of
relates to the type of work thatI'd still do now. Like, it's
funny, because it's like,
Steph (04:01):
yeah I see that
Josh (04:02):
I always paint kind of like, either dirty things like
the kind of mundane but in a waythat like, putting it in the
context of an artwork makes itfeel...
Steph (04:12):
It's a new light, literally, like...
Josh (04:14):
It's.. it's you know how, like, you know, it's the idea of
like painting things that arebeautiful. You know what I mean?
Like, and taking something thateveryone be like, Oh, you don't
do paintings of bins or drawingsof bins because they're gross.
Like, we don't want to thinkabout bins and I'm like, no, no,
let's put it lit and in thisscene with other things that we
also shouldn't talk about.
Steph (04:34):
That is such an interesting tie back to school.
Amazing Yeah. Well, maybe wewill move on to what your works
do tend to look like and tend tofeature so there's Yeah, often
these mundane objects and like alight source. I don't know if
you're staging these or justkind of like bringing it forth.
What can you describe the sortof most common things that
Josh (04:55):
Yeah, for sure, for sure. I think for me personally,
Steph (04:56):
Yeah, yeah.
Josh (04:56):
So I think, for me personally, whenever I start
feature?
whenever I think about likemaking a piece I'm like, think
about a piece of work, I tend tothink of it as like a really
about it in terms of, I supposethat's why most of them are low
light, like set it in duskbecause there's not like a harsh
indirect light across the wholescene. I tend to like whenever I
do a painting like that, I'vegot like a couple in this new
show, but I always feel likethey are a little bit less moody
(05:17):
or they're a little bit moreboring in my mind, because like,
all of it's lit, and there's nolike drama.
dull, indirect light for thewhole background. So obviously I
said at dusk, like fits thatbill but yeah, and then like a
(05:40):
fairly harsh direct light comingfrom the front, which creates a
lot of like, dramatic shadowsand stuff like
Steph (05:45):
yeah,
Josh (05:46):
and and it's like, it's like so much easier to like, a
lot of my work is like imagine,imagine, imaginative I suppose,
like, where I'm taking yourreference, but I'm also like,
not like, I'm, what's the word?I'm like, moving beyond it, in a
lot of ways where I'm like tomake everything come together.
(06:07):
Like I often try to like ignorethe reference and just take it
my own way.
Steph (06:11):
Take a few liberties?
Josh (06:12):
Yeah, because also like, you know, I've never wanted my
work to be like... *sigh* didshe just shit again.
Steph (06:19):
That was on the couch that time. Maybe maybe Windsor
is has had... we should bringher up to the mic.
Josh (06:28):
Come on
Steph (06:30):
Say some parting words.
Josh (06:30):
She's not having it. Look, I knew you were going to be
difficult.
Steph (06:35):
We can take a break too and let Windsor go
Josh (06:39):
It was nice while it lasted.
Steph (06:39):
Goodbye Windsor!
Josh (06:40):
I'm gonna clean myself up now.
Unknown (06:42):
-musical interlude-
Josh (06:43):
She gets nervous around new people
Steph (06:54):
That's great, though, even though we had to put her
back that still so great.
Josh (06:59):
Haha I don't know
Steph (07:02):
So we were at ignoring the reference like to bring it
all together?
Josh (07:06):
Yeah, cuz I feel as though like I want... like growing up
was always far more interestedin like, you know how like,
nowadays, you'll have like, avideo game that's like realistic
lighting, but like non-realisticsubject matter. Or like the
rocks are kind of, like,cartoony, but they're still
(07:27):
realistic because they're litand I don't know. I just like
Steph (07:30):
Like that kind of bit of both?
Josh (07:31):
Yeah. It's like realistic, but it's not
Steph (07:34):
It's a bit uncannny, isn't it?
Josh (07:35):
Yeah, yeah. Yeah. Yeah.
Steph (07:38):
Okay, cool. I think you achieve that, actually. Yeah,
Josh (07:40):
Maybe? I mean, look, yeah, I, yeah. I never wanted to be
like, because I've done itbefore, where you just like copy
a photo, and you just paintexactly the same. And, like,
that's fine. But it's a littlebit boring. And also, like, like
I said, if you try to unite likea bunch of different references,
like it's always better to takeliberties in being like, okay,
(08:01):
it doesn't have to be like, 100%realistic?
Steph (08:06):
Yeah.
Josh (08:08):
But anyway, yeah, like, I was saying it umm... I had a
point, and then it immediatelyleft my mind
Steph (08:15):
um it was about the light?
Josh (08:17):
Oh yeah so the lighting so so like, I like to think of it
as like a there's like anartificial source that's on the
character. So you know, if youcan imagine someone's like, gone
into a forest or field at dusk,and they've just like, put a
light on a toy and then they'vephotographed it.
Steph (08:33):
Yeah, yeah yep, so there's sort of nice, balanced
light in the background, but thesubject's got that nice
direction.
Josh (08:40):
Direct light. Yeah. And I think as well, like, it kind of
says something about the ideathat this object is like, has
importance because you know, ifit was lit with everything else,
it would kind of just feel likeit drowns in with the
background,
Steph (08:50):
but if you the spotlight the bin
Josh (08:52):
if you just spotlight the bin, then it's like *chef kiss*.
yeah.
Steph (08:56):
Amazing. And do you like actually... I mean, I know you
said you have references, butthen sometimes you have to
ignore them; do usuallyspotlight an object and do it
that way? Or are you just prettygood at going 'okay, if the
perspective of the light wasthis way...' and just kind of
imagining?
Josh (09:12):
bit of both
Steph (09:12):
bit of both? ok cool.
Josh (09:13):
Yeah, I think like nowadays, I'm spending a lot
more time like taking my ownreference photos, because I have
like struggled in the past whereyou have to, like, adapt a
reference that doesn't quitefit. And it's just like the
worst it's, and it's so like, itjust makes the process not fun
when you have to, like sit downand imagine every piece of... or
(09:36):
if it doesn't quite fit or likeyou know, you have a reference
that's lit from the left andyour painting has light from the
right and you're like 'ah, Iguess it would be like this' and
it just it just never looks asgood. It's always way more
stressful. So I think likenowadays, I tend to spend a
little bit more time gettinggood reference.
Steph (09:56):
Yeah, yeah. And that pays off in the end it
Josh (09:59):
Oh it makes it less stressful. Let's put it that
way.
Steph (10:01):
Haha, I love it. Coming back to the objects and what
their significance is. Like Iknow you mentioned, yeah, some
sort of pop-culture, Simpsonsreferences..
Josh (10:11):
Yeah. Yeah. Yeah.
Steph (10:14):
Wh... yeah I don't even know how to phrase the question.
Wh- What? Why?
Why. Just Why.
Why *laughing*
Josh (10:19):
Just Why. yeah, I don't know. Look, it's so funny. I've
like... I was worried about thisinterview because I've been
feeling a little bit negativeabout how many like pop culture
references and I was like 'ohdon't come across like you're
like super anti your art'.
I think like, it's super common for artists to be
Steph (10:34):
Haha
extremely critical of what theydo. I think specifically, using
like, heaps of pop culturereferences has been like a cause
of concern. I think like I grewup on, and I was inspired by, in
the early days, by an artistlike Greg Simkins, and like Alex
Pardee like Ron English, andthey're all like West Coast
(10:56):
artists. And they're like,suppose they're mainly concerned
with like, a movement called Popsurrealism. And that's literally
what they do. They include somany of their work is about pop
culture, mostly. So I thinklike, I was always just, like,
super keen to get into thatstyle of thing where you're, I
(11:18):
don't know, you're, I supposeyou just commenting on culture.
Like, it's so funny, becauseit's like... I was saying to
someone, the idea that you can'tnot reference things in art,
like you're always like,inspired by something that came
before you. Like, you can'tcreate anything in a vacuum. And
I think for me, like cartoonsand pop culture is like what I
(11:38):
grew up on, like, so I can'thelp but want to include it in
my work. And I think, to feellike, I can't do something makes
me want to do it even more. But,you know, it's so interesting.
Like, I'm always like, concernedwith coming across like a fan
artist.
Oh yeah yeah yeah.
Josh (11:59):
Like, if you look at, okay, let's look at like, like
Warhol, for instance, like,what, is he a fan artist of
Campbell's Soup?
Steph (12:04):
Hahaha!
Yeah.
Josh (12:05):
And so yeah, like, I don't know. I like including it.
Like, it's like he wasn't; he didn't just paint soup
because he loves soup? I don't Idon't know why he did it, I
don't know heaps about Warhol.But like, he was making a
comment on culture, I'm assuming.
Because it's like, who I amlike,
Steph (12:23):
yeah.
Josh (12:23):
And I think as well, I always draw things back to
cartoons and pop culture,because I always attribute that
to why I became an artist in thefirst place. And yeah.
Steph (12:34):
and to not include, like you said, to not include that
would be sort of disingenuous.And I think
Josh (12:39):
exactly.
Steph (12:40):
And but it's, and it's more, I don't know, if you speak
much to like, because a lot ofit's like paper cutouts, and
they've got these textures thatare just, I'm just like, Wow,
you really made a rod for yourown back wanting to paint that
crumpled piece of paper. Yeah.But maybe... is there an element
of... where am I going withthis? Oh, it's gone.
Josh (13:04):
It's gone! Haha.
Steph (13:05):
Haha, we're one to one.
Josh (13:11):
Okay. Yeah. Like -let me know, when it comes back and
I'll cut off what I'm saying.
Steph (13:16):
It was something...
Josh (13:16):
Yeah, something amazing, I'm sure. I tend to want to
include things like paper and,and all of that. Like, at the
moment, I'm doing a lot of stuffwith like, stuff projected onto
surfaces and stuff like that.Because like one: It's kind of
like a technical challenge.Like, you know, let's see if I
can paint this like, supercomplicated thing. Because I
(13:39):
mean, and I suppose that's like,related to, like Robin Eley's
work.
Steph (13:43):
Yes!
Josh (13:43):
. And I'm just like, Oh my God, how do you spend that much
time on that? Like there isyou're just insane. Yeah. So
like, I'm certainly I think thepaper in the beginning was
definitely inspired by RobinEleys. 'Cause I was just like 'I
want to paint something that'sjust like...', like one object
that takes a lot of time to do Ithink like the paper...
Steph (14:02):
It adds a depth and dimension as well.
Josh (14:04):
The other reason I do it is because it's like kind of
bringing the 2d into the 3d.Like it's a way of like
translating like 2d animationinto 3d space, which like, yeah,
I feel like every series I startI'm like, 'okay, how am I going
to do 2d this time?' Like, whatwhat am I going to do this time
round? Like so? Yeah, likepaper, stickers, just painting
(14:25):
the thing in 2d space on toplike, or, like projected. It's
just Yeah, I don't have likeyeah, it also kind of makes it
unintentionally surreal, I thinkas well like because you just
wouldn't see that like, if I'vepaint like a scene of an apple
and a toy or whatever it's likethat could you could be walking
through the woods and that couldbe there like by accident or
(14:47):
whatever, but I don't thinkyou're gonna see like a piece of
paper or a projected thing or
Steph (14:52):
meticulously cut-out and kind of dropped against
something
Josh (14:57):
Exactly. Yeah.
Steph (15:00):
Oh dear. *pause* I'm still finding that thought.
Josh (15:02):
Yeah I can feel it
Steph (15:03):
It was really good!
Josh (15:05):
I mean, it relates to the show.
Steph (15:06):
It's somewhere in here.
Unknown (15:07):
-musical interlude-
Steph (15:17):
Can you speak a bit more about the way that you title the
work or like how you like... doyour feelings about a word
change, and then do you title itat the end? Or what's that
relationship like?
Josh (15:31):
yeah, titling work is an interesting one. I think like,
like, every work kind of beginsat a different point. And then
the different point, I think,sometimes I'll like have a name
a title that I'm like, 'Oh, myGod, I have to make a painting
about that', because the titleis so good. And other times,
like, I won't even be able tocome up with the title like I'm
titling some work at the moment.And I'm, like, I've no idea what
(15:53):
to call this. And other work,I'm like, you know, I like to do
like most of the stuff that I dolike to do it instinctively. So
I'll kind of just like stare atthe painting and be like, 'What
is this about?' So there'spainting in my show... And this
is, yeah, this is kind of Idon't want to come across as
like the 'pop culture guy' or'the Simpsons guy' especially
Steph (16:14):
but some of the good ones are!
Josh (16:15):
I just can't help myself. I just cannot help myself.
Steph (16:19):
He's already dead!
Josh (16:19):
Yeah, I'm doing a painting that's like about work and the
pressures of being an artist, Isuppose. And it has the word
'work' in it, basically. Andit's about obviously work. And I
was like, Okay, it's called 'Allwork and no play makes Homer
something something'.
Steph (16:34):
oh yeah
Josh (16:34):
And the thing is, I'm like, that's such a good name. I
love that. But on the otherhand, like, Oh, my God,
everyone's gonna be like, dude,just get off the Simpsons man.
Like we get it, you like TheSimpsons.
Steph (16:43):
But isn't it good because it is an inroad to like.. okay,
my bent -You know, one of my'things'- is the Simpsons, but
it's an inroad to very validsubjects
Josh (16:53):
until I get a cease and desist from Disney. And they're
just like, bro, you gotta relax.
Steph (16:57):
I don't think they listen to this podcast.
Josh (16:59):
I think that's a safe bet. Yeah. No, I think you'd be fine.
But yeah, so basically, like,most the time, I'll just stare
at it. And I'll be veryconscious of what it's about. Or
maybe I won't, and it will justbe related to the subject
matter, but and I'll just kindof like just just just wing it,
like, kind of it'll just come tome. So sometimes, like, the
(17:19):
title is really interesting,because the title kind of goes a
long way to like, conceptualizethe work, like someone will see
it and they'll be like 'oh Idon't get it, it's just a
thing'. And then they read thething: 'Ah, I get it. Now it
makes sense'. And I think thetitle like is important in that
regard. Sometimes, like, I'mconcerned with giving too much
away. Like, I like the idea ofit being ambiguous. But at the
(17:41):
same time, if the title is tooambiguous, then and you don't
give people anything, thenthey're like, 'I don't even know
where to go with this'. Like,you need to have some entry
point like, even if it is kindof... is 'innocuous' the right
word? Ambiguous? Yeah.
Steph (17:56):
I love it. Ah, okay, hang on. We did that. So we've
already kind of answeredinfluences, have we?
Josh (18:12):
Kind of. I've got a lot more to say about influences. I
honestly, like I take influencesfrom everything. Like, like, all
my work is mainly based on like,my personal experience. So, you know,
Steph (18:28):
anything's game
This is the new way forward.
Josh (18:29):
anything is game. I think when I was growing up, like,
Yeah, this is the new way forward. So I think when I saw
there's certain things that,like, dramatically changed the
way I was working or thinkingabout my work, like, like, Otto
his work, I was like, Yeah, I'mgonna work like this from now
Marseus van Schrieck like, whenI read a book about him. I was
like, 'Oh, my God, I'm doingthis', like, it is not often
situations like I don't know,for me anyway, as an artist
on. And that was a huge, like,path that I went on, but um,
where like, you read something,or find someone that you're just
(18:51):
like, this is the new thing thatI'm doing. I don't see any other
like, there's no other path for me.
alternative to that, like,there's a rapper that I really
like, and like, his lyrics arelike super allegorical or
(19:14):
metaphorical. Like he he kind oflike talks around everything,
like he who never just say,
Steph (19:19):
he'll never come out and say it
Josh (19:20):
like, just like, directly, and like, I just loved the fact
that, you know, some of hismetaphors might be generic, and
everyone's like, Oh, that's,that's this because everybody
knows that that is this. Butthere's a lot of them that is,
it's like, you'd have to ask himbecause he's, it's too obscure.
And I'm like, I love theobscurity. I love the idea that,
(19:41):
you know, he's the gatekeeper ofthe the meaning of his work.
Steph (19:45):
hahah yep
Josh (19:46):
So like, I just love that I think as well like, you know,
he, he paints a picture, youknow, like he, he
Steph (19:57):
can we ask who he is?
Josh (19:59):
No it's a secret
Hahah no it's not a secret. It's Aesop Rock. And
Steph (20:00):
well you won't now, because you're trying to think
Ok
yeah, like he, he's very good atlike painting a picture with his
words. And I love the idea that-I'm trying to think of a good
one right now
of one.
Josh (20:14):
Okay, no I named a painting after a lyric in one of
his songs, which is such a softboy thing to do. But um, it was
like, the painting was about,like, people ignoring science,
it's about climate change,basically. So it was about
people like ignoring science andall of that. And it was colonize
earth. No, 'Colonize Mars onEarth Day'. And I was like, Oh,
(20:35):
my God, that's such a good line.I think I made the painting
based on that, like one line.Yeah. And like, he's just I mean
that, like, that's a fairly easyone. But he's like, he's a
genius. He's an absolute genius.So I think like his ideology
influenced the way that I thinkabout my work now.
Steph (20:53):
Yeah, I like that 'talking around' kind of thing
as well.
Josh (20:55):
Because like, that's the interesting thing. Like, I feel
as though I'll do a painting andto me, it'll mean something, but
to someone else, they'll belike, I've got no idea what
that's about. Yeah. Or like,it's something completely
different. I think, like, I dohave a painting in the show that
will the show that we'll discusslater. But that's like, 'Every
Car I've Ever Owned Has Been APiece Of Shit'. And I think it's
(21:15):
like, it's pretty obvious whatthat one's about, right? Like,
it's kind of on the nose. But Ithink if it didn't have that
title, you would be a little bitmore like, oh I don't know. But
even in that painting, forinstance, like, you know, super
obvious title. And I think, youknow, people will would look at
it and they'd be like, I get ageneral idea of what he's
talking about. But also like,you wouldn't know exactly what I
(21:36):
thought when I'm talking aboutthat specific thing. Like
there's yeah, there's, I mean, Ican give away what's in it.
Right? I don't think Patty wouldbe angry. Like there's, there's
a little...
Steph (21:45):
your show will have been opened. Shall we just say what
the show is? Let's go into theshow.
Josh (21:51):
Nah that's a secret.
Steph (21:54):
So LOST IN THOUGHT,
Josh (21:55):
yeah.
Steph (21:56):
Yeah. So it will be open by the time this episode comes
out.
Josh (21:58):
Yeah and the nightmare will be over.
Steph (22:02):
Yeah. You'll be much more chill haha. All right. Yeah. So
the car the car one?
Josh (22:07):
long story short, like, basically my point is, is that
like, sometimes I'm really proudof the metaphors that I've come
up with. And like, even though Iwant it to be ambiguous, I want
to tell people, how good is thisthing that I come up with?
Steph (22:19):
That reminds me of that thing, where it's like, 'I
really want to be mysterious,but I can't shut up'.
Josh (22:23):
Yeah. Yeah. Like, yeah, in this. Like, there's a there's a
little car, because obviously,it's about cars. And the car is
a piggy bank. And I was like, ohmy god, I love the idea that
it's a car that you just keepputting money into. I mean, you
could take it out with the moneybank, but like,
Steph (22:39):
don't really that far into it.
Josh (22:41):
Yeah just ignore that bit. Just Just the fact that you just
have to keep putting money into
Steph (22:45):
love that.
Josh (22:46):
Yeah, yeah.
Steph (22:48):
And so yeah, the show will be at Praxis in Bowden. And
do you have the... which roomare you in in the gallery?
Josh (22:55):
The main gallery
Steph (22:56):
Yeah, love that. That'll be cool. And wait, I think I
read [that it's] not justpaintings?
Josh (23:04):
It's like a lot of things. I wanted to kind of go all out.
Steph (23:07):
Have you done that before?
Josh (23:09):
With stuff other than paintings?
Steph (23:10):
Yeah like is it sculpture?
Josh (23:12):
It's like I mean, you can see them over there, the like,
aluminium paper sculpturethings, until it's like large.
That's one aspect of it. So likethere's a there's a diorama.
Steph (23:24):
ooh
Josh (23:25):
There's a diorama. There's like I taught myself how to do
pottery, like, throwing on awheel. So I'm gonna buy this,
like, inherently they weresupposed to be like props just
because like basically the whole
Steph (23:37):
it's a big room.
Josh (23:37):
It's a big room. Yeah. And I was certainly conscious of
that in the beginning. But um, Ilike had the idea that I wanted
it to be like, aesthetically,feel a lot like a museum. And I
went to the art gallery slashmuseum. And I noticed like the
art gallery had like rooms, Ilove the rooms where it was
basically like, a wall, and ithad like paintings and pottery
(24:00):
and a chair attached to thewall. And I kind of liked that
aesthetic. So I was like, Okay,let's make a bunch of pottery
that will attach to the wall orput in display cases or
whatever. So like, I was kind oftrying to run with that very...
Steph (24:12):
It's sort of that institution?
Josh (24:14):
Yeah, like I was just more eclectic like,
Steph (24:17):
the chair on the wall
Josh (24:19):
Yeah. I think like, the whole idea for the show, is that
it -and forgive me if I don'tsay this as fluently as I'd
like- but the idea is supposedto be that basically, like you
go about your life and you aresurrounded by objects that hold
(24:39):
like a certain significance toyou as an individual, like, you
know, you have a certainexperience with this object. And
that kind of influences how yousee that object.
Steph (24:48):
Yep.
Josh (24:48):
And, like, that narrative kind of like tells the story of
who you are. Because you know,if you were when you're a baby,
you've got no reference toanything like you don't know
what anything is. So you're justwalking around touching things,
feeling things. And that's like,creating, like an identity for
yourself where, you know, like,if you were... weird example -I
(25:09):
don't know why this popped intomy head... it's because there's
a cushion sitting next to me (25:12):
If you're a kid, and like you
constantly got beaten up by yoursibling with cushions, and like,
all the time, just create atrauma, like you're gonna be
scared of cushions, like,
Josh (25:24):
Yeah, that's distinctly different to someone that only
Steph (25:24):
You're gonna have a thing about cushions.
Yeah.
used cushions for their intendedpurpose. Yeah, right, like, so.
I think the whole idea and like,it's mostly the objects that I
Josh (25:31):
So yeah, like so. So I suppose to tie back to the show,
speak of, in the show are mostlytoys and, and some other things,
but, or like narratives about mylife. But I think the whole
point is that, you know, thethings that are in the show, are
significant to like me in someway. And I think the whole idea
is that someone could be like,what does this toy mean to you?
(25:53):
And there's something thatrelates to even if I don't like,
I'm drawn to it for a specificreason, because of the life that
I've lived, you know, whetherit's like, you know, a toy that
is from a show that I've neverwatched, I'm still like, that is
from a toy from a show that I'venever watched. You know what I
mean? Like, yeah, so regardlessof what it is, like I have got
(26:15):
an experience with it - unlessit's something I've never seen
before in my entire life, buteven then, it's like, 'this is
something I've never seenbefore'. Like, it reminds me of
these things. Like I think, likeyou get to a certain age where
you've like, had an experiencewith every kind of thing. And
that experience is like who you are.
(26:38):
the show is a collection ofthose things and like in a
personal Museum
Steph (26:43):
a personal Museum! I like that. Yeah.
Josh (26:46):
I think I was talking to Andrew Purvis about the idea
that, I can't remember what hecalled it.
Steph (26:50):
It would have been something clever.
Josh (26:52):
It was it was definitely clever. Like, argh I don't even
want to say it now because I'mgonna butcher it and then he's
going to be like I didn't saythat.
Haha yeah please. The idea of like, collected I think he
Steph (27:00):
We could dub his voice in
said, like Dutch collectors thatwould just have like, their own
personal museums that weresupposed to be like, indicative
of who they were, if I basicallyexactly what I'm saying, but I
suppose they they got to itbefore I did.
Haha Damn.
Josh (27:16):
But yeah, you can basically walk into this space,
and you can know the artistwithout knowing the artist.
Like, I think you would walkinto LOST IN THOUGHT and you
could go like, okay, this personlikes cartoons, I think that's
very clear.
Steph (27:29):
hahah yep.
Josh (27:29):
And I think you can kind of like, I mean, you're putting
it through your own personalfilter, but you can kind of
interpret what that person mightbe like, or because I think
like, a lot of my work is isdrenched in pop culture, but
also, like, kind of it feels um
Steph (27:45):
it's weird talking about your own work
Josh (27:46):
yeah no I was gonna say like whimsical, but is that it's
kind of up myself, isn't it? Itried to make it humorous. Like,
it's kind of on the nose. Like,it's a bit silly.
Steph (27:54):
Yeah.
Josh (27:55):
Or it's like, kind of gory or something like, but in a
weird way
Steph (27:59):
it's not one pidgeonhole-able thing
Josh (28:00):
Yeah, yeah.
Steph (28:01):
And I wonder what it will be like, I mean, I'll probably
be able to answer this by thetime this comes out. But whether
you know, the amount of timethat people spend in this space
will like what that will belike, oh, yeah, there'll be some
immediate things like theSimpsons, or, you know, yeah,
but yeah, those more nuancedthings that when you spend time
with a piece, or spend time withthe room, you know, the
difference between one work andthe collective experience.
(28:24):
Will be very interesting. Not that you have to comment on
Josh (28:24):
Yeah,
that, but it'll just; I'mlooking forward to it
Nah look it is going to be very interesting because like
for the show, specifically, Ikind of wanted to go all out. So
I've like I've like for theopening I've hired a musician to
play like cello, because Ithought that would be kind of
like I wanted to have likecontrol over the mood of it. And
(28:45):
like, so we kind of like landedon something that was 'moody and
contemplative' is the way thatshe phrased it and I was like,
Yes, I love it. But also, like,I'm in discussion with like an
actor friend who wants to dolike, I want him to do like a
guided tour, like an actualmuseum. So we're going to like,
kind of come up with that. And Ialso had the idea of doing like
an audio tour. So you would goto the front and you would be
(29:06):
given a cassette player and youcan kind of go through and
listen to
Steph (29:10):
a legit cassette player?
Josh (29:11):
Yeah, I couldn't. I was like, I'll buy an mp3 -it was so
much cheaper to go like an mp3player, but I was like, it has
to be a cassette. I can't not do-and corded headphones.
Steph (29:21):
Yeah,absolutely. Yeah.
Josh (29:21):
But yeah,
Steph (29:22):
That nice satisfying *imitates sound of loading a
cassette player*
Josh (29:23):
Yeah. And I liked the idea of that tying into the theme of
the show and all of that so likeyou know,
Steph (29:31):
It's that's nice to have that big picture.
Josh (29:33):
Yes I just wanted it to be more than just like 'come and
see these paintings' becauselike you know, you can see the
paintings online -Not thatthat's the same as seeing them
in person- but
Steph (29:41):
we won't enter into that
Josh (29:42):
yeah, I really wanted to have an experience that goes
along with the show itself.Yeah, so yeah, like I've framed
everything; I've got thediorama; I've got a display
cases and musicians and actorsand
Steph (29:56):
the kitchen sink
Josh (29:57):
The kitchen sink! The kitchen sink. It has been very
stressful. I'll be perfectlyhonest.
Steph (30:02):
Yeah, it always is! But it will be worth it. Absolutely.
Well, I won't tease out any moretrauma from you. But um, where
can people -apart from going tothe show- where can people
follow along with what you'redoing in your practice? Are you
online? Are you on the 'gram?
Josh (30:19):
Yeah, I'm only on the 'gram. I feel like I don't have
the stamina to take on any othersocial media pipes, but
Steph (30:26):
one's fine
Josh (30:27):
One is enough.
And even even Instagram is there's a lot. I think it's,
Steph (30:31):
What's the handle?
well I know that it's, it's JoshJuett, but it's 'Jvett', J V E
double T.
How trendy
Josh (30:37):
Yeah. It's yeah, it's annoying because everyone's like
it's Josh Jvett but it's JoshJuett but the V is supposed to
be like the the Dutch 'U' Ithink back then they would do a
V and it would be pronounced asa U. Which is cool, right?
Steph (30:51):
I mean, I'm no authority.
Josh (30:54):
Yeah.
Steph (30:56):
All right. Wonderful. Thank you for your time today
and we will all get along andsee the shows. Sounds good.
Thank you.
Hello and welcome to the SALA Podcast. My name is Steph
and today I'm catching up withJosh Juett. I'll just note that
we're catching up in his studio,which is on a traditional lands
of the Kaurna People of whichsovereignty was never ceded, and
these lands are of continuingimportance and acknowledge the
Elders past, present andemerging.
(00:26):
Now, Josh, it's hard to look atyou with a straight face because
you're sitting opposite me witha bird on your shoulder. Who is
this?
Josh (00:34):
This is Windsor.
Steph (00:35):
Okay, cool. All right. Windsor, Josh, great to have you
both on the podcast. All right,well, maybe we should go
chronologically and go back tohow you became an artist:
whether you knew that you wantedto be an artist, or whether it's
something you found your way to.How did that go?
Josh (00:54):
Ah, look, I don't know. I think like most artists, like
you tend to just say that fromwhen you were a kid, you were
engaged with like, differentcreative pursuits, I suppose. Or
you just had an affinity fordifferent types of arts. But
yeah, I don't know. When I wasyounger, my mom used to always
say that I was just like, thekid that would always want to
take home, like a refrigeratorbox from kindy or something. You
(01:18):
know what I mean? Like ifthey're getting a new piece of
appliance or something. So I wasalways bringing home like
Steph (01:22):
...to draw on or just like to be in?
Josh (01:25):
I don't know - to make a cubby out of or something I
suppose?
Steph (01:29):
You could say that you could see the potential in
materials from an early age
Josh (01:33):
Haha yeah I suppose you're right. I think, yeah, I don't
know, I was always obsessed -Isuppose that's why I included so
much of my work now- but likecartoons, especially. And I
always wanted to draw like, Iwas always redrawing like,
Pokemon characters and stufflike that
Steph (01:46):
Oh you were one of those kids.
Josh (01:47):
I was, I was. Um, but yeah, I don't know. I think I
didn't really get into paintinguntil I was a bit older. Because
obviously, that's a little bitmore technical, I suppose. But
yeah, I've always drawn. Yeah, Ididn't I didn't really get into
like painting painting until Iwas like late high school.
Steph (02:08):
Okay, which is still early.
Josh (02:11):
Yeah, I suppose I like I think, like I always drew and
then when I was like, ateenager, and like, graffing was
cool. That kind of like, pulledme back into art. And then like,
I started seeing that there wasa bunch of graffiti artists that
would also do like kind ofcharacter-based work.
Steph (02:29):
Haha you look so unsteady with that bird. No poop on you
yet, but.. you know..
Josh (02:35):
No, there is. There definitely is
Steph (02:37):
Oh there is!
Josh (02:37):
That's totally fine.
Windsor (02:38):
*Chirp*
Steph (02:38):
Sorry, for everyone listening at home.
*giggle*
Josh (02:43):
Um, yeah, I don't know. I think I've just always loved
being creative. Yeah, I don'tknow. And whatever I can't
really, like, before we started,I was telling you about, like,
when I was in school, we'redoing like a drawing class.
Actually, this is a differentone. But like, we're doing a
drawing class. And the teacherasked us to draw, like a sea
(03:04):
scene and the winner of that wona dollar. And I won, and I
suppose that was,
Steph (03:10):
was that the beginning of your art career?!
Josh (03:12):
The beginning of my career
school. I think it probablywould have only been like Year 1
or 2 or something.
Steph (03:19):
Well, you know, that's pretty good. And I heard you
drew a really good bin once.
Josh (03:23):
I did draw a very good bin once. Yeah, I think the bin was
probably more of a big dealbecause I remember like... So as
the sea scene was more of asituation where you made it, and
then you just gave it and thenlike, I just got given a dollar.
And then I was like, you wonwith no real elaboration on it.
But the bin was like, everyone'slike, 'Oh, my God, this bin is
amazing'.
Steph (03:42):
It's interesting, isn't it that you know, having an
audience receiving the workversus it just being done? And
there's no real, like, fanfareor resolution?
Yeah, yeah.
Interesting.
Josh (03:51):
Yeah. It's funny, because I was thinking about it before,
like the idea that the bin...drawing a bin; it kind of
relates to the type of work thatI'd still do now. Like, it's
funny, because it's like,
Steph (04:01):
yeah I see that
Josh (04:02):
I always paint kind of like, either dirty things like
the kind of mundane but in a waythat like, putting it in the
context of an artwork makes itfeel...
Steph (04:12):
It's a new light, literally, like...
Josh (04:14):
It's.. it's you know how, like, you know, it's the idea of
like painting things that arebeautiful. You know what I mean?
Like, and taking something thateveryone be like, Oh, you don't
do paintings of bins or drawingsof bins because they're gross.
Like, we don't want to thinkabout bins and I'm like, no, no,
let's put it lit and in thisscene with other things that we
also shouldn't talk about.
Steph (04:34):
That is such an interesting tie back to school.
Amazing Yeah. Well, maybe wewill move on to what your works
do tend to look like and tend tofeature so there's Yeah, often
these mundane objects and like alight source. I don't know if
you're staging these or justkind of like bringing it forth.
What can you describe the sortof most common things that
Josh (04:55):
Yeah, for sure, for sure. I think for me personally,
Steph (04:56):
Yeah, yeah.
Josh (04:56):
So I think, for me personally, whenever I start
feature?
whenever I think about likemaking a piece I'm like, think
about a piece of work, I tend tothink of it as like a really
about it in terms of, I supposethat's why most of them are low
light, like set it in duskbecause there's not like a harsh
indirect light across the wholescene. I tend to like whenever I
do a painting like that, I'vegot like a couple in this new
show, but I always feel likethey are a little bit less moody
(05:17):
or they're a little bit moreboring in my mind, because like,
all of it's lit, and there's nolike drama.
dull, indirect light for thewhole background. So obviously I
said at dusk, like fits thatbill but yeah, and then like a
(05:40):
fairly harsh direct light comingfrom the front, which creates a
lot of like, dramatic shadowsand stuff like
Steph (05:45):
yeah,
Josh (05:46):
and and it's like, it's like so much easier to like, a
lot of my work is like imagine,imagine, imaginative I suppose,
like, where I'm taking yourreference, but I'm also like,
not like, I'm, what's the word?I'm like, moving beyond it, in a
lot of ways where I'm like tomake everything come together.
(06:07):
Like I often try to like ignorethe reference and just take it
my own way.
Steph (06:11):
Take a few liberties?
Josh (06:12):
Yeah, because also like, you know, I've never wanted my
work to be like... *sigh* didshe just shit again.
Steph (06:19):
That was on the couch that time. Maybe maybe Windsor
is has had... we should bringher up to the mic.
Josh (06:28):
Come on
Steph (06:30):
Say some parting words.
Josh (06:30):
She's not having it. Look, I knew you were going to be
difficult.
Steph (06:35):
We can take a break too and let Windsor go
Josh (06:39):
It was nice while it lasted.
Steph (06:39):
Goodbye Windsor!
Josh (06:40):
I'm gonna clean myself up now.
Unknown (06:42):
-musical interlude-
Josh (06:43):
She gets nervous around new people
Steph (06:54):
That's great, though, even though we had to put her
back that still so great.
Josh (06:59):
Haha I don't know
Steph (07:02):
So we were at ignoring the reference like to bring it
all together?
Josh (07:06):
Yeah, cuz I feel as though like I want... like growing up
was always far more interestedin like, you know how like,
nowadays, you'll have like, avideo game that's like realistic
lighting, but like non-realisticsubject matter. Or like the
rocks are kind of, like,cartoony, but they're still
(07:27):
realistic because they're litand I don't know. I just like
Steph (07:30):
Like that kind of bit of both?
Josh (07:31):
Yeah. It's like realistic, but it's not
Steph (07:34):
It's a bit uncannny, isn't it?
Josh (07:35):
Yeah, yeah. Yeah. Yeah.
Steph (07:38):
Okay, cool. I think you achieve that, actually. Yeah,
Josh (07:40):
Maybe? I mean, look, yeah, I, yeah. I never wanted to be
like, because I've done itbefore, where you just like copy
a photo, and you just paintexactly the same. And, like,
that's fine. But it's a littlebit boring. And also, like, like
I said, if you try to unite likea bunch of different references,
like it's always better to takeliberties in being like, okay,
(08:01):
it doesn't have to be like, 100%realistic?
Steph (08:06):
Yeah.
Josh (08:08):
But anyway, yeah, like, I was saying it umm... I had a
point, and then it immediatelyleft my mind
Steph (08:15):
um it was about the light?
Josh (08:17):
Oh yeah so the lighting so so like, I like to think of it
as like a there's like anartificial source that's on the
character. So you know, if youcan imagine someone's like, gone
into a forest or field at dusk,and they've just like, put a
light on a toy and then they'vephotographed it.
Steph (08:33):
Yeah, yeah yep, so there's sort of nice, balanced
light in the background, but thesubject's got that nice
direction.
Josh (08:40):
Direct light. Yeah. And I think as well, like, it kind of
says something about the ideathat this object is like, has
importance because you know, ifit was lit with everything else,
it would kind of just feel likeit drowns in with the
background,
Steph (08:50):
but if you the spotlight the bin
Josh (08:52):
if you just spotlight the bin, then it's like *chef kiss*.
yeah.
Steph (08:56):
Amazing. And do you like actually... I mean, I know you
said you have references, butthen sometimes you have to
ignore them; do usuallyspotlight an object and do it
that way? Or are you just prettygood at going 'okay, if the
perspective of the light wasthis way...' and just kind of
imagining?
Josh (09:12):
bit of both
Steph (09:12):
bit of both? ok cool.
Josh (09:13):
Yeah, I think like nowadays, I'm spending a lot
more time like taking my ownreference photos, because I have
like struggled in the past whereyou have to, like, adapt a
reference that doesn't quitefit. And it's just like the
worst it's, and it's so like, itjust makes the process not fun
when you have to, like sit downand imagine every piece of... or
(09:36):
if it doesn't quite fit or likeyou know, you have a reference
that's lit from the left andyour painting has light from the
right and you're like 'ah, Iguess it would be like this' and
it just it just never looks asgood. It's always way more
stressful. So I think likenowadays, I tend to spend a
little bit more time gettinggood reference.
Steph (09:56):
Yeah, yeah. And that pays off in the end it
Josh (09:59):
Oh it makes it less stressful. Let's put it that
way.
Steph (10:01):
Haha, I love it. Coming back to the objects and what
their significance is. Like Iknow you mentioned, yeah, some
sort of pop-culture, Simpsonsreferences..
Josh (10:11):
Yeah. Yeah. Yeah.
Steph (10:14):
Wh... yeah I don't even know how to phrase the question.
Wh- What? Why?
Why. Just Why.
Why *laughing*
Josh (10:19):
Just Why. yeah, I don't know. Look, it's so funny. I've
like... I was worried about thisinterview because I've been
feeling a little bit negativeabout how many like pop culture
references and I was like 'ohdon't come across like you're
like super anti your art'.
I think like, it's super common for artists to be
Steph (10:34):
Haha
extremely critical of what theydo. I think specifically, using
like, heaps of pop culturereferences has been like a cause
of concern. I think like I grewup on, and I was inspired by, in
the early days, by an artistlike Greg Simkins, and like Alex
Pardee like Ron English, andthey're all like West Coast
(10:56):
artists. And they're like,suppose they're mainly concerned
with like, a movement called Popsurrealism. And that's literally
what they do. They include somany of their work is about pop
culture, mostly. So I thinklike, I was always just, like,
super keen to get into thatstyle of thing where you're, I
(11:18):
don't know, you're, I supposeyou just commenting on culture.
Like, it's so funny, becauseit's like... I was saying to
someone, the idea that you can'tnot reference things in art,
like you're always like,inspired by something that came
before you. Like, you can'tcreate anything in a vacuum. And
I think for me, like cartoonsand pop culture is like what I
(11:38):
grew up on, like, so I can'thelp but want to include it in
my work. And I think, to feellike, I can't do something makes
me want to do it even more. But,you know, it's so interesting.
Like, I'm always like, concernedwith coming across like a fan
artist.
Oh yeah yeah yeah.
Josh (11:59):
Like, if you look at, okay, let's look at like, like
Warhol, for instance, like,what, is he a fan artist of
Campbell's Soup?
Steph (12:04):
Hahaha!
Yeah.
Josh (12:05):
And so yeah, like, I don't know. I like including it.
Like, it's like he wasn't; he didn't just paint soup
because he loves soup? I don't Idon't know why he did it, I
don't know heaps about Warhol.But like, he was making a
comment on culture, I'm assuming.
Because it's like, who I amlike,
Steph (12:23):
yeah.
Josh (12:23):
And I think as well, I always draw things back to
cartoons and pop culture,because I always attribute that
to why I became an artist in thefirst place. And yeah.
Steph (12:34):
and to not include, like you said, to not include that
would be sort of disingenuous.And I think
Josh (12:39):
exactly.
Steph (12:40):
And but it's, and it's more, I don't know, if you speak
much to like, because a lot ofit's like paper cutouts, and
they've got these textures thatare just, I'm just like, Wow,
you really made a rod for yourown back wanting to paint that
crumpled piece of paper. Yeah.But maybe... is there an element
of... where am I going withthis? Oh, it's gone.
Josh (13:04):
It's gone! Haha.
Steph (13:05):
Haha, we're one to one.
Josh (13:11):
Okay. Yeah. Like -let me know, when it comes back and
I'll cut off what I'm saying.
Steph (13:16):
It was something...
Josh (13:16):
Yeah, something amazing, I'm sure. I tend to want to
include things like paper and,and all of that. Like, at the
moment, I'm doing a lot of stuffwith like, stuff projected onto
surfaces and stuff like that.Because like one: It's kind of
like a technical challenge.Like, you know, let's see if I
can paint this like, supercomplicated thing. Because I
(13:39):
mean, and I suppose that's like,related to, like Robin Eley's
work.
Steph (13:43):
Yes!
Josh (13:43):
. And I'm just like, Oh my God, how do you spend that much
time on that? Like there isyou're just insane. Yeah. So
like, I'm certainly I think thepaper in the beginning was
definitely inspired by RobinEleys. 'Cause I was just like 'I
want to paint something that'sjust like...', like one object
that takes a lot of time to do Ithink like the paper...
Steph (14:02):
It adds a depth and dimension as well.
Josh (14:04):
The other reason I do it is because it's like kind of
bringing the 2d into the 3d.Like it's a way of like
translating like 2d animationinto 3d space, which like, yeah,
I feel like every series I startI'm like, 'okay, how am I going
to do 2d this time?' Like, whatwhat am I going to do this time
round? Like so? Yeah, likepaper, stickers, just painting
(14:25):
the thing in 2d space on toplike, or, like projected. It's
just Yeah, I don't have likeyeah, it also kind of makes it
unintentionally surreal, I thinkas well like because you just
wouldn't see that like, if I'vepaint like a scene of an apple
and a toy or whatever it's likethat could you could be walking
through the woods and that couldbe there like by accident or
(14:47):
whatever, but I don't thinkyou're gonna see like a piece of
paper or a projected thing or
Steph (14:52):
meticulously cut-out and kind of dropped against
something
Josh (14:57):
Exactly. Yeah.
Steph (15:00):
Oh dear. *pause* I'm still finding that thought.
Josh (15:02):
Yeah I can feel it
Steph (15:03):
It was really good!
Josh (15:05):
I mean, it relates to the show.
Steph (15:06):
It's somewhere in here.
Unknown (15:07):
-musical interlude-
Steph (15:17):
Can you speak a bit more about the way that you title the
work or like how you like... doyour feelings about a word
change, and then do you title itat the end? Or what's that
relationship like?
Josh (15:31):
yeah, titling work is an interesting one. I think like,
like, every work kind of beginsat a different point. And then
the different point, I think,sometimes I'll like have a name
a title that I'm like, 'Oh, myGod, I have to make a painting
about that', because the titleis so good. And other times,
like, I won't even be able tocome up with the title like I'm
titling some work at the moment.And I'm, like, I've no idea what
(15:53):
to call this. And other work,I'm like, you know, I like to do
like most of the stuff that I dolike to do it instinctively. So
I'll kind of just like stare atthe painting and be like, 'What
is this about?' So there'spainting in my show... And this
is, yeah, this is kind of Idon't want to come across as
like the 'pop culture guy' or'the Simpsons guy' especially
Steph (16:14):
but some of the good ones are!
Josh (16:15):
I just can't help myself. I just cannot help myself.
Steph (16:19):
He's already dead!
Josh (16:19):
Yeah, I'm doing a painting that's like about work and the
pressures of being an artist, Isuppose. And it has the word
'work' in it, basically. Andit's about obviously work. And I
was like, Okay, it's called 'Allwork and no play makes Homer
something something'.
Steph (16:34):
oh yeah
Josh (16:34):
And the thing is, I'm like, that's such a good name. I
love that. But on the otherhand, like, Oh, my God,
everyone's gonna be like, dude,just get off the Simpsons man.
Like we get it, you like TheSimpsons.
Steph (16:43):
But isn't it good because it is an inroad to like.. okay,
my bent -You know, one of my'things'- is the Simpsons, but
it's an inroad to very validsubjects
Josh (16:53):
until I get a cease and desist from Disney. And they're
just like, bro, you gotta relax.
Steph (16:57):
I don't think they listen to this podcast.
Josh (16:59):
I think that's a safe bet. Yeah. No, I think you'd be fine.
But yeah, so basically, like,most the time, I'll just stare
at it. And I'll be veryconscious of what it's about. Or
maybe I won't, and it will justbe related to the subject
matter, but and I'll just kindof like just just just wing it,
like, kind of it'll just come tome. So sometimes, like, the
(17:19):
title is really interesting,because the title kind of goes a
long way to like, conceptualizethe work, like someone will see
it and they'll be like 'oh Idon't get it, it's just a
thing'. And then they read thething: 'Ah, I get it. Now it
makes sense'. And I think thetitle like is important in that
regard. Sometimes, like, I'mconcerned with giving too much
away. Like, I like the idea ofit being ambiguous. But at the
(17:41):
same time, if the title is tooambiguous, then and you don't
give people anything, thenthey're like, 'I don't even know
where to go with this'. Like,you need to have some entry
point like, even if it is kindof... is 'innocuous' the right
word? Ambiguous? Yeah.
Steph (17:56):
I love it. Ah, okay, hang on. We did that. So we've
already kind of answeredinfluences, have we?
Josh (18:12):
Kind of. I've got a lot more to say about influences. I
honestly, like I take influencesfrom everything. Like, like, all
my work is mainly based on like,my personal experience. So, you know,
Steph (18:28):
anything's game
This is the new way forward.
Josh (18:29):
anything is game. I think when I was growing up, like,
Yeah, this is the new way forward. So I think when I saw
there's certain things that,like, dramatically changed the
way I was working or thinkingabout my work, like, like, Otto
his work, I was like, Yeah, I'mgonna work like this from now
Marseus van Schrieck like, whenI read a book about him. I was
like, 'Oh, my God, I'm doingthis', like, it is not often
situations like I don't know,for me anyway, as an artist
on. And that was a huge, like,path that I went on, but um,
where like, you read something,or find someone that you're just
(18:51):
like, this is the new thing thatI'm doing. I don't see any other
like, there's no other path for me.
alternative to that, like,there's a rapper that I really
like, and like, his lyrics arelike super allegorical or
(19:14):
metaphorical. Like he he kind oflike talks around everything,
like he who never just say,
Steph (19:19):
he'll never come out and say it
Josh (19:20):
like, just like, directly, and like, I just loved the fact
that, you know, some of hismetaphors might be generic, and
everyone's like, Oh, that's,that's this because everybody
knows that that is this. Butthere's a lot of them that is,
it's like, you'd have to ask himbecause he's, it's too obscure.
And I'm like, I love theobscurity. I love the idea that,
(19:41):
you know, he's the gatekeeper ofthe the meaning of his work.
Steph (19:45):
hahah yep
Josh (19:46):
So like, I just love that I think as well like, you know,
he, he paints a picture, youknow, like he, he
Steph (19:57):
can we ask who he is?
Josh (19:59):
No it's a secret
Hahah no it's not a secret. It's Aesop Rock. And
Steph (20:00):
well you won't now, because you're trying to think
Ok
yeah, like he, he's very good atlike painting a picture with his
words. And I love the idea that-I'm trying to think of a good
one right now
of one.
Josh (20:14):
Okay, no I named a painting after a lyric in one of
his songs, which is such a softboy thing to do. But um, it was
like, the painting was about,like, people ignoring science,
it's about climate change,basically. So it was about
people like ignoring science andall of that. And it was colonize
earth. No, 'Colonize Mars onEarth Day'. And I was like, Oh,
(20:35):
my God, that's such a good line.I think I made the painting
based on that, like one line.Yeah. And like, he's just I mean
that, like, that's a fairly easyone. But he's like, he's a
genius. He's an absolute genius.So I think like his ideology
influenced the way that I thinkabout my work now.
Steph (20:53):
Yeah, I like that 'talking around' kind of thing
as well.
Josh (20:55):
Because like, that's the interesting thing. Like, I feel
as though I'll do a painting andto me, it'll mean something, but
to someone else, they'll belike, I've got no idea what
that's about. Yeah. Or like,it's something completely
different. I think, like, I dohave a painting in the show that
will the show that we'll discusslater. But that's like, 'Every
Car I've Ever Owned Has Been APiece Of Shit'. And I think it's
(21:15):
like, it's pretty obvious whatthat one's about, right? Like,
it's kind of on the nose. But Ithink if it didn't have that
title, you would be a little bitmore like, oh I don't know. But
even in that painting, forinstance, like, you know, super
obvious title. And I think, youknow, people will would look at
it and they'd be like, I get ageneral idea of what he's
talking about. But also like,you wouldn't know exactly what I
(21:36):
thought when I'm talking aboutthat specific thing. Like
there's yeah, there's, I mean, Ican give away what's in it.
Right? I don't think Patty wouldbe angry. Like there's, there's
a little...
Steph (21:45):
your show will have been opened. Shall we just say what
the show is? Let's go into theshow.
Josh (21:51):
Nah that's a secret.
Steph (21:54):
So LOST IN THOUGHT,
Josh (21:55):
yeah.
Steph (21:56):
Yeah. So it will be open by the time this episode comes
out.
Josh (21:58):
Yeah and the nightmare will be over.
Steph (22:02):
Yeah. You'll be much more chill haha. All right. Yeah. So
the car the car one?
Josh (22:07):
long story short, like, basically my point is, is that
like, sometimes I'm really proudof the metaphors that I've come
up with. And like, even though Iwant it to be ambiguous, I want
to tell people, how good is thisthing that I come up with?
Steph (22:19):
That reminds me of that thing, where it's like, 'I
really want to be mysterious,but I can't shut up'.
Josh (22:23):
Yeah. Yeah. Like, yeah, in this. Like, there's a there's a
little car, because obviously,it's about cars. And the car is
a piggy bank. And I was like, ohmy god, I love the idea that
it's a car that you just keepputting money into. I mean, you
could take it out with the moneybank, but like,
Steph (22:39):
don't really that far into it.
Josh (22:41):
Yeah just ignore that bit. Just Just the fact that you just
have to keep putting money into
Steph (22:45):
love that.
Josh (22:46):
Yeah, yeah.
Steph (22:48):
And so yeah, the show will be at Praxis in Bowden. And
do you have the... which roomare you in in the gallery?
Josh (22:55):
The main gallery
Steph (22:56):
Yeah, love that. That'll be cool. And wait, I think I
read [that it's] not justpaintings?
Josh (23:04):
It's like a lot of things. I wanted to kind of go all out.
Steph (23:07):
Have you done that before?
Josh (23:09):
With stuff other than paintings?
Steph (23:10):
Yeah like is it sculpture?
Josh (23:12):
It's like I mean, you can see them over there, the like,
aluminium paper sculpturethings, until it's like large.
That's one aspect of it. So likethere's a there's a diorama.
Steph (23:24):
ooh
Josh (23:25):
There's a diorama. There's like I taught myself how to do
pottery, like, throwing on awheel. So I'm gonna buy this,
like, inherently they weresupposed to be like props just
because like basically the whole
Steph (23:37):
it's a big room.
Josh (23:37):
It's a big room. Yeah. And I was certainly conscious of
that in the beginning. But um, Ilike had the idea that I wanted
it to be like, aesthetically,feel a lot like a museum. And I
went to the art gallery slashmuseum. And I noticed like the
art gallery had like rooms, Ilove the rooms where it was
basically like, a wall, and ithad like paintings and pottery
(24:00):
and a chair attached to thewall. And I kind of liked that
aesthetic. So I was like, Okay,let's make a bunch of pottery
that will attach to the wall orput in display cases or
whatever. So like, I was kind oftrying to run with that very...
Steph (24:12):
It's sort of that institution?
Josh (24:14):
Yeah, like I was just more eclectic like,
Steph (24:17):
the chair on the wall
Josh (24:19):
Yeah. I think like, the whole idea for the show, is that
it -and forgive me if I don'tsay this as fluently as I'd
like- but the idea is supposedto be that basically, like you
go about your life and you aresurrounded by objects that hold
(24:39):
like a certain significance toyou as an individual, like, you
know, you have a certainexperience with this object. And
that kind of influences how yousee that object.
Steph (24:48):
Yep.
Josh (24:48):
And, like, that narrative kind of like tells the story of
who you are. Because you know,if you were when you're a baby,
you've got no reference toanything like you don't know
what anything is. So you're justwalking around touching things,
feeling things. And that's like,creating, like an identity for
yourself where, you know, like,if you were... weird example -I
(25:09):
don't know why this popped intomy head... it's because there's
a cushion sitting next to me (25:12):
If you're a kid, and like you
constantly got beaten up by yoursibling with cushions, and like,
all the time, just create atrauma, like you're gonna be
scared of cushions, like,
Josh (25:24):
Yeah, that's distinctly different to someone that only
Steph (25:24):
You're gonna have a thing about cushions.
Yeah.
used cushions for their intendedpurpose. Yeah, right, like, so.
I think the whole idea and like,it's mostly the objects that I
Josh (25:31):
So yeah, like so. So I suppose to tie back to the show,
speak of, in the show are mostlytoys and, and some other things,
but, or like narratives about mylife. But I think the whole
point is that, you know, thethings that are in the show, are
significant to like me in someway. And I think the whole idea
is that someone could be like,what does this toy mean to you?
(25:53):
And there's something thatrelates to even if I don't like,
I'm drawn to it for a specificreason, because of the life that
I've lived, you know, whetherit's like, you know, a toy that
is from a show that I've neverwatched, I'm still like, that is
from a toy from a show that I'venever watched. You know what I
mean? Like, yeah, so regardlessof what it is, like I have got
(26:15):
an experience with it - unlessit's something I've never seen
before in my entire life, buteven then, it's like, 'this is
something I've never seenbefore'. Like, it reminds me of
these things. Like I think, likeyou get to a certain age where
you've like, had an experiencewith every kind of thing. And
that experience is like who you are.
(26:38):
the show is a collection ofthose things and like in a
personal Museum
Steph (26:43):
a personal Museum! I like that. Yeah.
Josh (26:46):
I think I was talking to Andrew Purvis about the idea
that, I can't remember what hecalled it.
Steph (26:50):
It would have been something clever.
Josh (26:52):
It was it was definitely clever. Like, argh I don't even
want to say it now because I'mgonna butcher it and then he's
going to be like I didn't saythat.
Haha yeah please. The idea of like, collected I think he
Steph (27:00):
We could dub his voice in
said, like Dutch collectors thatwould just have like, their own
personal museums that weresupposed to be like, indicative
of who they were, if I basicallyexactly what I'm saying, but I
suppose they they got to itbefore I did.
Haha Damn.
Josh (27:16):
But yeah, you can basically walk into this space,
and you can know the artistwithout knowing the artist.
Like, I think you would walkinto LOST IN THOUGHT and you
could go like, okay, this personlikes cartoons, I think that's
very clear.
Steph (27:29):
hahah yep.
Josh (27:29):
And I think you can kind of like, I mean, you're putting
it through your own personalfilter, but you can kind of
interpret what that person mightbe like, or because I think
like, a lot of my work is isdrenched in pop culture, but
also, like, kind of it feels um
Steph (27:45):
it's weird talking about your own work
Josh (27:46):
yeah no I was gonna say like whimsical, but is that it's
kind of up myself, isn't it? Itried to make it humorous. Like,
it's kind of on the nose. Like,it's a bit silly.
Steph (27:54):
Yeah.
Josh (27:55):
Or it's like, kind of gory or something like, but in a
weird way
Steph (27:59):
it's not one pidgeonhole-able thing
Josh (28:00):
Yeah, yeah.
Steph (28:01):
And I wonder what it will be like, I mean, I'll probably
be able to answer this by thetime this comes out. But whether
you know, the amount of timethat people spend in this space
will like what that will belike, oh, yeah, there'll be some
immediate things like theSimpsons, or, you know, yeah,
but yeah, those more nuancedthings that when you spend time
with a piece, or spend time withthe room, you know, the
difference between one work andthe collective experience.
(28:24):
Will be very interesting. Not that you have to comment on
Josh (28:24):
Yeah,
that, but it'll just; I'mlooking forward to it
Nah look it is going to be very interesting because like
for the show, specifically, Ikind of wanted to go all out. So
I've like I've like for theopening I've hired a musician to
play like cello, because Ithought that would be kind of
like I wanted to have likecontrol over the mood of it. And
(28:45):
like, so we kind of like landedon something that was 'moody and
contemplative' is the way thatshe phrased it and I was like,
Yes, I love it. But also, like,I'm in discussion with like an
actor friend who wants to dolike, I want him to do like a
guided tour, like an actualmuseum. So we're going to like,
kind of come up with that. And Ialso had the idea of doing like
an audio tour. So you would goto the front and you would be
(29:06):
given a cassette player and youcan kind of go through and
listen to
Steph (29:10):
a legit cassette player?
Josh (29:11):
Yeah, I couldn't. I was like, I'll buy an mp3 -it was so
much cheaper to go like an mp3player, but I was like, it has
to be a cassette. I can't not do-and corded headphones.
Steph (29:21):
Yeah,absolutely. Yeah.
Josh (29:21):
But yeah,
Steph (29:22):
That nice satisfying *imitates sound of loading a
cassette player*
Josh (29:23):
Yeah. And I liked the idea of that tying into the theme of
the show and all of that so likeyou know,
Steph (29:31):
It's that's nice to have that big picture.
Josh (29:33):
Yes I just wanted it to be more than just like 'come and
see these paintings' becauselike you know, you can see the
paintings online -Not thatthat's the same as seeing them
in person- but
Steph (29:41):
we won't enter into that
Josh (29:42):
yeah, I really wanted to have an experience that goes
along with the show itself.Yeah, so yeah, like I've framed
everything; I've got thediorama; I've got a display
cases and musicians and actorsand
Steph (29:56):
the kitchen sink
Josh (29:57):
The kitchen sink! The kitchen sink. It has been very
stressful. I'll be perfectlyhonest.
Steph (30:02):
Yeah, it always is! But it will be worth it. Absolutely.
Well, I won't tease out any moretrauma from you. But um, where
can people -apart from going tothe show- where can people
follow along with what you'redoing in your practice? Are you
online? Are you on the 'gram?
Josh (30:19):
Yeah, I'm only on the 'gram. I feel like I don't have
the stamina to take on any othersocial media pipes, but
Steph (30:26):
one's fine
Josh (30:27):
One is enough.
And even even Instagram is there's a lot. I think it's,
Steph (30:31):
What's the handle?
well I know that it's, it's JoshJuett, but it's 'Jvett', J V E
double T.
How trendy
Josh (30:37):
Yeah. It's yeah, it's annoying because everyone's like
it's Josh Jvett but it's JoshJuett but the V is supposed to
be like the the Dutch 'U' Ithink back then they would do a
V and it would be pronounced asa U. Which is cool, right?
Steph (30:51):
I mean, I'm no authority.
Josh (30:54):
Yeah.
Steph (30:56):
All right. Wonderful. Thank you for your time today
and we will all get along andsee the shows. Sounds good.
Thank you.
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