Born in Lyon, France, Carole Jury has lived in Princeton for two years with her husband and three children. Carole holds Masters degrees in Sociology and in Human Resources. She has worked for many years as Communications Manager.
Carole has been passionate about art, particularly painting, for a long time. In France she used to paint for herself and for her private circle. Then, she saw her move to the States as a life-changing opportunity and parlayed her passion for art into a new profession.
The broad, textured strokes of her oil paintings recall the work of celebrated French abstract painter, but while Soulages is known for his use of blacks, Jury’s canvasses feature vibrant reds, calming blues, rich browns and other earth tones. The naturalistic palette of water, sky, wood, then, reflective qualities of metal and transparency of plastic provide additional sources of her inspiration.
Layering the paint to create a canvass relief with its nuances of color and play of light guides Carole’s artwork. Oil paint naturally lends itself to plasticity and super-imposition, and Carole follows its flow to create her own dances of shadow and light. Her fascination with the interplay of color and light must stem from her interest in photography, Carole’s other medium of expression.
These canvasses are painterly abstractions, not representations. Yet, their objective is to entice the viewer into imagining what she might discern in the ridges and folds of their surface. As a recent review observed, each is a sort of Rorschach test, waiting ever so unobtrusively to be interpreted by its viewer (Princeton Town Topics, Oct. 19, 2016).
In the artist’s own words:
“A painting needs to be made one’s own. It’s a kind of secret space where everyone can find one’s own personal refuge. Through painting, I feel anything is possible…The viewer can imagine anything and everything he wants. My reliefs and colors allow for countless interpretations. Then, the viewer will have made my painting his own.”
It is this unobtrusive, yet fascinating quality of Carole’s abstractions that makes them so suitable to any interior space, whether private or public.