A nosey around Gloam Gallery with Jack Ginno
Earlier this year, we crammed a car full of hefty plywood offcuts and some camera kit, then set off through the winding roads of the Peak District en route to Jack Ginno’s Sheffield studio.
After a brief game of Tetris in the car park, Jack welcomed us to Gloam Gallery, where we were immediately met with a brilliant show by fellow Gloam resident Stu Burke. Jack popped the kettle on and we sat down for a chat about his practice, his studio and whether there was any chance of a discount at the pub next door.
You studied in Leeds, moved to Manchester and now you're based in Sheffield. How did you end up here?
I grew up in Cheshire, so I sort of naturally gravitated towards Manchester and ended up doing my Art Foundation at Stockport College. John, a great tutor there and a huge influence at that early stage, recommended the Fine Art course at Leeds - he was spot on! My three years there were crucial and set the early principles for my practice today.
I had an amazing time in Leeds, but it was always my plan to return to Manchester. Three friends and I quickly set up Depot Art Studios in Ardwick and got stuck into the Manchester art scene. Ten years on, Depot is still running today in the capable and talented hands of Alistair Woods and Kayt Hughes (both fantastic artists you should check out). After a few years practising in Manchester and a brief stint in Rotterdam, I finally settled in Sheffield; I love the pace of life here, as well as the people and the closeness to nature.
As you can probably gauge, I love the North and am passionate about rejecting the London-centric model for the arts, there are so many brilliant creatives working up here, making things happen whether they are backed financially or not, that spirit and determination is undeniable and for me a massive part of why I'm still here.
Are there any places in Sheffield you'd recommend to visiting makers?
We are surrounded by an abundance of beauty here, get yourselves out into the Peaks. Or if you're in the city centre to one of Sheffields many parks, there's a reason it's called the outdoor city. There's great street art 'round every corner and plenty of galleries to sink your teeth into, from more established places like Millennium Gallery, Site Gallery and Bloc Projects to artist-led spaces like here at Gloam Gallery. Plenty of great coffee spots too, often adorned with beautiful hand-painted signs, Puck and Pollen, Mow's and Cloud, just to name a few.
It looks like you've found a great fit here at Gloam. What is it about this space that works so well for you? And who do you share the studio with?
I got really lucky with my studio here at Gloam. I have a huge double-height space with a glass roof, so there is lots of bright natural light, which I don't think I could live without now. There are 10 artists here in total, but I share my immediate space with Rose Hedy Squires, Victoria Emily Sharples and Jonny Davey, 3 great friends and wonderful artists. The gallery sits in a great location within Sheffield's Cultural Industries Quarter and puts on regular exhibitions in its gallery space as a voluntary artist-led organisation.
Looking over to that wall behind you, I can see ceramics, woodwork, canvas, perspex, foam and a few more miscellaneous materials. What dictates the materials you use? Do you have a favourite material to work with?
Nothing is off limits, but I tend to be drawn to objects that have painterly qualities and some evidence of human trace. I'm always on the lookout for new materials, poking around in skips or peering down alleys when I'm cycling around town. Sometimes, I'll spot something discarded in a friend's studio and offer a trade. Other times, I'll go out hunting in junk shops. Occasionally, I get a tip-off from a friend who understands my practice and knows the kind of thing I'm looking for. I'll bring these objects into the studio and sit with them, considering what might promote their inherent properties and how they can transition into a successful painting. The aim is to create a self-sufficient artwork that doesn't rely on the artist as an imposing, authoritative figure.
And when you’re assembling your various media. What are the ideas or themes that inform the direction of your work?
I'm interested in interrogating the creative act as a whole. I think about the creative act as a process that starts with the artist and is completed by the viewer. I'll often use found objects, chance and by-products in an attempt to play with the traditional intent-driven, artist-dependant process of making and see how this might affect the viewer's interpretation. I explore the language of painting to lead the viewer around each piece. Their eyes may bounce between a scratched piece of metal, a stained piece of wood and a gestural brush mark, trying to decipher where these traces are from and if they evoke any response despite uncertainty about my involvement.
By this point, our readers might have noticed you've opted to elude the camera. This isn't something we see often. Why have you chosen to create this separation between you and your practice?
It's always been an integral part of my practice to put the art at the forefront, not the artist. Throughout art history, we've romanticised the artist so much that it can sometimes distract or influence our experience with an artwork. In a practice that questions the creative act, I like the idea of the artist and viewer approaching as equals. When intent is removed there is a lot more emphasis on reflection, an opportunity to form a unique relationship with the work, rather than being dictated by what the artist is trying to express. Maintaining anonymity seeks to bolster this approach, to pose in front of my paintings just feels contradictory.
And finally, what have you got coming up that we should keep an eye out for?
I have a duo show 'Here, or There, or Elsewhere' with Manchester based artist Ally Fallon opening April 4th at Heaven 11, a space just a short walk from Manchester Piccadilly in Ardwick very kindly offered up by Louise Giovanelli. The show focuses on painting as a space for encounter, including open-ended works that invite engagement and reflection. It's shaping up to be a really great exhibition. Ally works on quite a large scale with traditional mediums, so it'll be great to see how our paintings sit alongside each other.
I also released 'Mirror' late last year, a 268 page book which looks back on works made between 2013 and 2023. It's a great place to start if anyone wants to see more of my work and provides a curated overview of my practice, tying threads through various pieces from the past decade.
Otherwise you can find me at @jackginno on Instagram or keep an eye on my website www.jackginno.com and get in touch on there.
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