Today we’d like to introduce you to John Linthurst.
Hi John, so excited to have you on the platform. So before we get into questions about your work-life, maybe you can bring our readers up to speed on your story and how you got to where you are today?
As a young man raised in an art encouraging family, I was introduced to many forms of artistic outlets early, and eventually settled on photography as my primary driver. I did earn a degree in Photo Arts from Pasadena City College, but also became involved in other unrelated entrepreneurial business pursuits that took me away from the creative realm for decades.
A near family tragedy in 2010 (daughters auto crash) left me revisiting Purpose and Meaning. I found myself pivoting away from that previous world of ‘too much to do, and not enough time to do it in’ syndrome, trading monetary rewards for soulful healing. Which, was a good thing. Albeit, paucity comes with that choice.
These days I am well adjusted into my creative life, and what that takes, and what it gives. When I think about decisions, crossroads, and the What If’s, I am quite content.
Regarding my art evolution, it has been years since I ever left a photograph intact. I desecrate them all, in a good way, by incorporating additional media, story text, pen markers, oils, acrylic, kelp, tissues, – a grand manipulation – that takes a simple document and alters it into a story of complexity and awe (Hopefully)
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
Roads taken are so much more fruitful than the ones you do not. In my case, each road has been winding, interesting and educational. Sure you get better at your pursuit, everyone does. Talent is the accumulated sum of repetitions, right, and as long as you stay at it – you will get better.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
Presently I am doing paper tear-art, utilizing tissue, mulberry, rice papers, even paper towels – all incorporated over my women’s surf photography. The result is highly stylized abstraction of an action sport. Ongoing.
Prior to that, I was collaging midcentury paper dolls I collected singularly off McCalls and Simplicity sewing pattern covers of the 1950’s-1970’and socializing them into scenarios of my own making. Mostly opulent Palm Springs pool parties, a spoof of the mid-century affluent, steeping them in carefree leisure. The party estates were so much fun digitally manipulating, and were ‘gets’ from Zillow, and unrecognizably altered as host sets prior to my populating them with the fun-loving paper dolls. Material for your art is endless, and everywhere.
I have done a series on ‘Tijuana’ (east), where I pin dropped my Google street view automobile into a dozen random locations, and then ‘drove’ those streets taking snaps from the ‘Street View Turret’ of the vehicle. This was such a disheartening project. The poverty was so overwhelming, devastating, that I made a point to populate the end prints with a more joyful presence. Fifteen miles as the crow flies from Petco Park, and a world out of our conscious. (2017)
I have done a series on the ‘Apache’ (Native Americans) exclusively, using government archive photos and my own landscape notions to share their bitter historical story. (2021)
Did a series on ‘Other Desert People’ (2016) an ethnography, where I spent a spring documenting the habits and personalities of a small population of desert inhabitants, trailer trash, and the spirted loners populating a desert plateau that had no stomach for outsiders. Some people say I made it all up. And that’s true, I did. But that is what artists do.
I did a portrait series ‘Women & Their Fish’ (2022) that involved tapestry, fashion models, (mostly friends) posing smartly with a fish of their choice. Think tuna, halibut, smelt. That was a tad absurd I suppose, all the more reason I enjoyed the unique collection.
I did a cityscape series on SD Downtown collaged during the Great Recession. (2010-11). The chaos of the architecture piled awkwardly into a new interpretation of the city was, interesting, anxious. Grace from mayhem. SD Airport oddly took that exhibit on in the Centennial Project.
‘Vintage Beach Towns’ was a fun historic project. ‘Coast Loco’, a lighter look at beach culture was a lengthy project. ‘Oceanside Alleys’ a collection of alleys after rain events (2019).
I did a series on mid-century ‘Pulp Noir Art’ (2024). So interesting to study eras in American culture, and then make your own interpretation from them. (I am also American Studies degreed, AMST CS-Fullerton 1986) I was invited to share parts of that exhibit with the Studio Door, Hillcrest this past summer. That venue has been very supportive of me, and fledgling artist never forget.
In this very brief sum, I have plenty of ‘tangent’ projects I pursue, all the time, and then quickly pivot out of them once I get what I came for. Onward!
We’d love to hear about how you think about risk taking?
I can honestly say, I don’t know a single artist who is doing this just for the money. Actually, I guess I know two. But they both see it as a blessed residual as to what they would be doing anyway. You must understand – creators are compelled. They dream up ideas, and then apply them. I use to write fiction as well (don’t be impressed, no one else was) and sometimes people would not get your word art, your story, perhaps taking things too literally. Making something true… that is not …requires talent. But also, can rile objections. That’s a risk innate with the artistic process, and an artist will never hesitate to step into the puddle when others fear the wet.
Pricing:
- $1.00-500
Contact Info:
- Website: https://studiovistadelmar.com
- Instagram: @jlinthurst
- Facebook: John Linthurst
Image Credits
I take all my own photos
