Jennifer de Klaver's (born 1968 in San Francisco) artworks are currently created in a renovated auto garage in Southampton. After graduating from Parsons School of Design, her artistic journey took an unconventional path. In addition to focusing on painting, she spent over a decade building a reputation for her understanding of colour, space and design connectivity.
How did you get into art?
Art has always fascinated me. Growing up in Belgium, I had the opportunity to visit museums all over Europe as young girl, which sparked my interest. Being the daughter of an artist, art was always a focal point in my household. However, it was during my time at Parsons that my passion for painting truly took off. A painting professor understood my visions and often shared books from the library that he felt would resonate with me. I still have Louise Fishman's book, which I loved so much that I never returned (don't tell!). Additionally, I briefly met Christophe Van de Weghe of Van de Weghe Gallery during that time. He introduced me to many Chelsea galleries like the Gagosian Gallery and encouraged me to study the works of influential artists like Cy Twombly and Joan Mitchell.
How would you describe your style? What makes your work special?
I would describe my style as abstract expressionism. It's an energy that flows through me, feeling natural and free. The more present I am and connected to my heart, the more the art comes to life on the canvas. What makes my work special is the channeled energy that emerges. I feel grateful to be the vehicle for this expression, and my intention is to bring light and positive energy into the world through my art.
How do you go about developing your work?
My process is all about allowing. While I may have an initial idea of a color scheme, I surrender to the flow and let the experience unfold naturally. This doesn't always mean it is always smooth – often some of my best work emerges from a place where there is friction, and I need to step through it. I am often amazed by the unexpected that arises on the other side. There is a calm and patient beginning, a building of energy, a crescendo, and finally, a sense of awe and relaxation. After completing a piece, I often use palo santo with the intention of creating a blessing of peace to the artwork and anyone who views it.
Who or what influences you?
Nature is a significant influence for me. The elements—trees, wind, water, sun, sky—deeply inspire me. My meditation and moments of quiet contemplation also have a profound influence on my work. Additionally, I am in awe of the great artists who came before me and those who are currently creating. Artists such as Cy Twombly, Franz Klein, Helen Frankenthaler, Rothko, Joan Mitchell, Agnes Martin, Modigliani, Robert Ryman, and Robert Motherwell are particularly inspiring to me.
Make us curious. What is planned next?
I am thrilled to continue working with the energy I receive and exploring intricate color palettes + marks in my upcoming series. The next collection will be a further expression of my latest show, CODED, featuring 5-9 paintings. The focus is on movement and a language that is expressed in marks. Additionally, I have been working on a series of works on paper that take a different approach, still focusing on codes but with a geometric perspective. I love the balance of working on both simultaneously—one exuding freedom and movement, the other more methodical, quiet, and organized.