From Private Passion to Public Praise
Jan Dilenschneider discusses her unexpected rise in the art world, the societal impact of her work, and her future projects, blending creativity with meaningful messages.
Jan Dilenschneider’s journey into the commercial art world is nothing short of inspiring. Emerging from a family of artists, Jan has been painting all her life, but it wasn’t until the spring of 2013 that she began to share her work with the world. A friend’s insistence on purchasing two of her paintings opened the floodgates, leading to a solo show at the prestigious Galerie Pierre-Alain Challier in Paris’ historic Le Marais district. This pivotal moment marked the beginning of a remarkable career, with numerous solo gallery shows in Paris and exhibitions throughout New York, New England, and Ohio. Jan’s formal training at The Ohio State University, The National Academy of Design in New York, the North Shore Art League in Illinois, and the Silvermine Art Center in Connecticut has equipped her with a diverse and rich artistic foundation.
Jan Dilenschneider is not just an artist; she is a beacon of creativity and resilience. Her ability to transform personal passion into a thriving career is a testament to her talent and determination. Jan’s work is not only visually stunning but also deeply meaningful, often highlighting critical issues such as ecology and mental wellness. Her exhibitions, titled “There Will Always Be Light” and “Come To The Light,” reflect her commitment to using art as a medium for healing and inspiration. Jan’s dedication to her craft and her ability to connect with audiences on a profound level make her a true luminary in the art world. Her story is a powerful reminder of the impact that art can have on society and the importance of following one’s passion.
How do you think the role of the artist in society has changed in recent years, and how do you see it evolving in the future?
As creative as we Artists are, we are not politicians, but Artists can make a difference in society. They have the right, even the obligation, to highlight conditions that need attention from the public. For example, for my first three solo exhibitions in Paris, I highlighted the Ecology. Most of my work was lush, green vegetation and beautiful trees. I used the favorite quote that I wanted the viewers to “FALL IN LOVE WITH NATURE AGAIN.” Recently I had two shows highlighting “mental wellness” in response to some current problems, especially among young people. The titles were “THERE WILL ALWAYS BE LIGHT” and “COME TO THE LIGHT.” The light is always healing and uplifting. It can be inspiring to many.
Can you discuss the business challenges you faced when first entering the commercial art world, and how you overcame them?
I never expected to become rich as an artist. But I am getting there.
Have you ever considered creating a line of products inspired by your artwork? If so, what would that look like?
Quite a few have suggested this with my “Big Leaf” paintings. I was given a beautiful leather purse with the “Big Leaf” image all over it, plus the suggestion of doing change purses, notecards, carry bags, etc. A lot of people recognize my work on the purse. I’m still thinking about this endeavor.
How do you maintain creative momentum during periods of artist’s block or low inspiration?
I always have “high creative motivation.” I look, look, observe, observe, and analyze everything I see. I just need time to paint and explore ideas that I develop from my observations and ideas. Painting just “pours” out of my brush after this.
How do you approach commission work, and how does it differ from creating pieces for exhibitions?
I always paint with my “canvas” as my “client.” The canvas must be handled artfully and creatively.
How do you balance the solitary nature of painting with the need for networking and self-promotion in the art world?
I maintain an active contact list while advertising and participating in opportunities like this fine Q&A. I enjoy a wonderful relationship with Silvermine Arts Center; my gallery in Paris, Galerie Pierre-Alain Challier; and my gallery at the Sheen Center in New York, among many others.
How do you envision the role of physical art galleries changing in an increasingly digital world?
The digital ability to accurately reproduce fine art will have two effects on the market. First, it allows younger people to own and appreciate “fine art” not just “poster art.” Second, hopefully it will educate and allow a new group of customers to purchase and appreciate original artwork. It hopefully will be a boon for the “fine arts” market!
What are some key lessons you’ve learned about the art business that you wish you had known earlier in your career?
Initially I saw how diverse the art world was considered. Later I learned how this variety and “new looks” spark “new adventures” in artists. Always a good thing to bring newness forward. The online audience seems the way to go for broader coverage, however, one must keep one hand in classic, aesthetic value.
What future projects or exhibitions are you excited about, and how do you plan to continue growing your career and brand?
I am looking forward to a couple of solo exhibits in Europe plus I have been offered two shows in the local area. I am introducing some new techniques in my painting that I am really enjoying and plan to actively establish a dialogue online with artists and those who appreciate art.