Watercolor can be a finicky medium. The variables are numerous — the absorbency of the paper, the liquidity of your pigments, and the humidity or lack thereof in the air, to name just a few. Seasonal resident Julien Jarreau handles the challenge with aplomb. His stunning show, “A-muse-ing Martha’s Vineyard,” curated by Featherstone Center for the Arts, is on view in the Feldman Family Art Space at the M.V. Film Center through Jan. 5.
Whether Menemsha, Aquinnah, Vineyard Haven, or Edgartown, Jarreau presents sweeping Vineyard views where land, water, and sky meet. His colors pop with intensity, heightening our visceral response. He is particularly fascinated with the contrast between light and dark: “At the core of my work is a continuing study of how we can’t really know or understand light without darkness: The opposite is true.”
We see this clearly in “Aquinnah High Dunes,” where light in the sweep of the darker sky seems to electrify pathways and dune grass, which ripple in the wind. The intense colors appear illuminated from within, magnifying the landscape’s impact beyond strict realism.
Light and dark play against each other visually and metaphorically in “Mary K. Into the Clear.” A picture of contrasts, the bold red fishing boat motors ahead under a dark sky toward a bright blue clearing just beyond.
Jarreau combines various techniques in his art. His compositions are a combination of experiencing a landscape firsthand, many photographs he takes at the time, and images from the web that might inspire him later on. After sketching out his final composition in graphite, Jarreau typically lays down a light liquid wash of paint. He might add dabs of pigment for the sky, which spread organically when hitting the water. A shift of the paper or a pull of the brush can help guide, though never wholly control, the paint. The result is the essence of the sky, whether stormy, cloud-swept, or a clear day.
As the paper and pigments dry, Jarreau adds opaque, crystalline details, whether blades of grass, the white foam on gently lapping waves, miniature-looking moored boats, or the shimmer of light on a pond. He finishes his paintings with a thin layer of wax, which creates a dull shine and protects the paper’s surface from accidental moisture.
For “On Quitsa Golden Pond Menemsha,” Jarreau began with the sky. The dazzling sun peeks out from and just above the row of the purple wash of clouds hanging over the horizon line. He then picks up the sunlight in the ripples on the water as they draw our eye back through the nooks and crannies of the salt marsh far into the distance. Jarreau adds the lush green foliage, boats, and precisely rendered boathouse afterward, creating a sense of density that defies the translucent quality of watercolor.
Jarreau is masterful at nuances. In his large work, “Nobska Point Lighthouse Woods Hole, ” he differentiates countless shades of blue. The dark, pregnant sky hangs over a vast expanse of water. But look closely, and you see not just marks for individual small waves, but also how the color changes in the different currents. The lighthouse stands like a small, bright, white sentry in crisp detail, while the far distance becomes less distinct, creating a strong sense of endless depth.
Jarreau studied fine art in college, but became a graphic designer in advertising for a career. Just two and a half years ago, after 44 years in the field, he says, “I retired and wanted to go back to my roots in fine art.” Speaking about the influence of his former career on his current watercolors, Jarreau explains, “Graphic design is often an exacting art form. For instance, topography with letter design and spacing are quite detailed and precise. I think that’s an influence, as is my mother, who, as a painter, was very meticulous.”
We see his eye for precision in “Coast Guard Station with Four Kids Menemsha.” The boat’s bow reaches out toward us like a snout, with its ropes tying off in our space. The Coast Guard Station sits on the dock in the middle distance, and the finely rendered row of buildings behind draws our eyes backward into the far-off horizon. “As a kid, I used to play with toy boats, cars, and trucks, so I’m enamored with little structures. I also studied architecture in college for a short while. I grew up with a T-square and a triangle. I’ve applied all the skills I learned as an artist and graphic designer.”
About his art, Jarreau hopes we come away with the same feeling he has when creating. “There is an intrinsic joy I get from painting, and I want to transfer it — to give away that joy.”
Curated by Featherstone Center for the Arts, “A-muse-ing Martha’s Vineyard” is on view in the Feldman Family Art Space at the M.V. Film Center through Jan. 5. Artist reception, Saturday, Dec. 14, from 1 to 3 pm.
