Jill Crowley's art is fun, energetic, and spontaneous. The painter loves opposites, controlled chaos, and making splashes. Jill uses her imagination to combine natural and surreal elements in her work and to explore the limits of her craft. She enjoys learning from other creatives and her own mistakes. The balance of nature is important to her, and she adopts its resilience, strength, and beauty for her art concepts.
1. We met at The Other Art Fair spring edition a couple of weeks ago, and your paintings really caught my attention. You told me that it all starts with a splash. Can you please tell our readers what you meant by this statement?
Each piece begins as a framed blank canvas, then, using acrylic mixed with a little water, I splatter both the canvas and the frame. It's a very chaotic and high-energy application or process. The splatter leads the way and dictates what will live on the canvas. Sometimes I work with the splatter, and sometimes I try to go in the opposite direction — a pink sweet background in a pink frame could end up being butterflies or a great white shark. My process is a mix of chaos and control, as well as abstraction and surrealism. The chaotic abstract splatter leads the way, and the surreal imagery is applied in a controlled application.
2. Would you describe your work process as structured or rather spontaneous? What are some techniques you have perfected throughout your artistic career?
Both, really. The backgrounds are extremely spontaneous and require quick thinking and action, especially if there is a lot of movement in the splatter. The imagery is much slower and far more structured. With the slower drying oils in the foreground, I have the opportunity to build layers and step away if I need time to think on the next steps. I don't know if I would say I perfected any techniques, but I do think understanding and accepting what each medium can do allows me to experiment and have more freedom in my process.
3. How did you become a fine artist? When did you first start painting, and did you have a formal art education?
Art has always been a part of my life. I had a wonderful art teacher in high school that really allowed me to experiment with multiple mediums, but I didn't find oils until college. I have my BA in art education with an emphasis in painting and drawing. However, I noticed the biggest jump in my skill when I committed to painting almost every day, even if I only had time to paint a flower.
After the loss of my brother and father, my art production really took off, and my style quickly solidified. Having art skill and knowledge allowed me to pour my emotions into something creative. At the time, I had a career in retail management, but in 2020, I had enough inventory and was able to begin my art career.
After the loss of my brother and father, my art production really took off, and my style quickly solidified. Having art skill and knowledge allowed me to pour my emotions into something creative. At the time, I had a career in retail management, but in 2020, I had enough inventory and was able to begin my art career.
4. You combine fantastical elements in your art, as in your portrait of the tiger with peacock wings in King-Print. What does this image stand for?
King was a piece that I had in my head for a while before sketching and then finally painting. King is a piece that exudes power and confidence — a tiger with peacock wings doesn't really fit anywhere and is both unique and unrealistic, yet she looks confident and complete, not asking for approval but simply existing. I see myself continuing to embrace surreal elements in future paintings and am filling my sketchbook with more imaginative and empowering ideas.
5. How long is the process before finishing an original painting? How do you come up with the titles for your work?
Each piece usually takes a couple of weeks from splatter to completion. I generally have 10 to 15 pieces going at the same time. Oils are all about building layers, and take a few days to be dry enough to add another layer. So while it may take a couple of weeks to complete, it's a few hours here and there throughout those two weeks, depending on the size — larger pieces take much longer. The paintings are titled after they are completed and can be a range of ideas from songs that fit the vibe of the painting to a fun phrase, but I really try to feel out what the painting is exuding.
6. Is it difficult to let go of a painting you've worked on for a long time? Can you share a story about a special painting that was very dear to your heart?
I'm surprised how easy it is to sell and let go of a piece. I truly enjoy the process of creating each painting. I also get to meet a lot of my collectors, and watching them connect with the piece is amazing. I love watching people walk into my booth and just smile, and they don't even realize they are doing it.
7. You are currently showing your work at an exhibition called "Where the Wild Things Stay" at FOUNDRE Phoenix in Phoenix, Arizona (until July 12, 2026). Which of your paintings have you chosen to exhibit, and what has the public reaction been like so far?
I have two pieces at FOUNDRE Phoenix: a larger tiger piece and a smaller bee piece. It has been a really fun exhibit to be a part of, especially with the growing art scene in Phoenix. Opening night was really fun and energetic! I will definitely be keeping an eye out for more contemporary opportunities in the Phoenix area.
8. Is there a local community of creatives that you share your work with? Who is your biggest fan?
I am part of a co-op art gallery, Arts Prescott Gallery, and have found a supportive and creative community there, starting with experienced artists freely sharing their knowledge and support to artists still out doing festivals and events. The gallery has over 30 members with a diverse range of mediums, and it's genuinely amazing to me how similar the thought process is — or how a conversation can flow with artists in different mediums, like with Silversmith Marty Orosz, @thunderheartjewerly. It's helpful as an artist to be able to think outside of your medium and stretch the creative process.
Holly Weisel, @hjweisel_fine_art, and Alison Crary, @artbyalisoncrary, are two of the members that have the same passion and drive to create as I do. While our styles are completely different, we can all ask each other for honest critiques or suggestions, as well as traveling to festivals and art fairs. This has been extremely helpful; it's easy not to see stagnation when creating on your own, but having other creative voices and viewpoints keeps me pushing and growing. I have also made numerous "festival friends" — a majority of the artists I have met doing festivals and fairs have been supportive and fun to meet.
Tempe Festival of the Arts is one of my favorite festivals. At my first event there, a wonderful collector purchased a large painting, and every year she comes back to see what I have created — even if she doesn't purchase anything, it's so wonderful to just say hi.
Holly Weisel, @hjweisel_fine_art, and Alison Crary, @artbyalisoncrary, are two of the members that have the same passion and drive to create as I do. While our styles are completely different, we can all ask each other for honest critiques or suggestions, as well as traveling to festivals and art fairs. This has been extremely helpful; it's easy not to see stagnation when creating on your own, but having other creative voices and viewpoints keeps me pushing and growing. I have also made numerous "festival friends" — a majority of the artists I have met doing festivals and fairs have been supportive and fun to meet.
Tempe Festival of the Arts is one of my favorite festivals. At my first event there, a wonderful collector purchased a large painting, and every year she comes back to see what I have created — even if she doesn't purchase anything, it's so wonderful to just say hi.
9. How do you see the relationship between humanity and nature? Can art help to create awareness for the necessary balance between both worlds?
The resilience and strength in nature is truly inspiring and something that humanity can learn from. There is a beauty and harmony in nature that feeds my soul and inspires me to push my creativity and skill. My hope is that as a collective we start to remember the importance and balance that nature brings to all of us, because we are all connected and dependent on each other for both our survival and the survival of the planet.
The amount of people that connect with my nature-themed art makes me hopeful that we will start to make the necessary changes to help our world begin to thrive again.
The amount of people that connect with my nature-themed art makes me hopeful that we will start to make the necessary changes to help our world begin to thrive again.
10. What do you see as the greatest accomplishment of your career? Is there an important lesson you would like to share with novice artists?
I feel like with each piece, I continue to grow as an artist and still have so much room to learn and expand. The biggest lesson to novice artists would be not to be afraid to create bad art. Whenever I'm on the verge of growing as an artist, I create some unappealing paintings, and it's extremely cathartic to destroy them and learn from that bad art. In short, I guess don't let fear dictate the creative process.
Follow Jill on Instagram at @justjillpainting and visit her website at jillcrowley.com