Interview with Patrick Waldemar
Patrick Waldemar, Nasturtium decay, 2023, Acrylic
Born in Kingston, Jamaica, Patrick attended Ardenne High before moving to Chicago, Illinois where he finished schooling. He returned to live in Jamaica in 1967. As one of the Caribbean’s leading watercolor artists and a graduate of the American Academy of Art in Chicago, Patrick has had numerous one-man shows in the major galleries in Jamaica, and he has also participated in many group shows.
His work has been exhibited in New York as well as New Orleans and it is represented in private collections in the United States, the United Kingdom, Canada, and Jamaica. He has been recognized by American Artist Magazine, and was published in the exclusive watercolor bi-annual issue of Watercolour 92, and also in International Artist Magazine.
Patrick has completed the execution of murals for the Bank of Jamaica. In addition, he was responsible for the decor for the opening night of the Midem Music Festival 1997 in Cannes, France. For five consecutive years, his designs for Jamaica’s entry at the Chelsea Flower Show in London were awarded Silver Gilt and Silver medals.
Patrick now splits his time between Kingston, Jamaica and New Orleans, Louisiana. He is represented in Kingston by the Olympia Gallery and in New Orleans by the Stella Jones Gallery where he has had three one-man shows to date. As part of the collection of CCH Pounder, his work has also been shown at Xavier College Louisiana and in the Wright Museum of African American History in Detroit.
Patrick loves photography for photography’s sake and as a reference collecting tool for his watercolor and acrylic painting.
Patrick Waldemar, Argon Tree, 2022, Watercolor
My work in watercolor and acrylic is driven by the fluidity and spontaneity of these mediums. Watercolor, in particular, appeals to me because of its inherent unpredictability, requiring an artist to adapt and flow with the medium’s natural movements. This journey of control and release is both challenging and invigorating.
In choosing my subject matter, I am often captivated by the inherent beauty of nature or compelling elements of the human condition. These themes resonate deeply with me and serve as a rich source of inspiration. It’s the intersection of environment and emotion that fuels my creativity.
When a particular scene captures my attention, it’s usually because of its vibrant colors, the prevailing mood, or the palpable energy of the moment. These elements, when combined, demand to be immortalized.
My art is inspired by constant examination of both the natural world and the intricacies of human nature. This dual focus allows me to explore a wide range of emotions and experiences, providing endless explorative opportunities.
Read our interview below to get a glimpse into Patrick Waldemar’s creative journey.
How has your formal training at the American Academy of Art shaped your artistic journey, and are there techniques or lessons from your time there that you still rely on today?
My time at the American Academy of Art in Chicago was instrumental as a solid foundation for my journey in the art world. While there, I was introduced to the basics of art theory from color to life drawing. It also instilled the discipline of continuously exploring and working on my craft.
Patrick Waldemar, Unstructured cotton dress, 2017, Acrylic
Watercolor is a notoriously difficult medium to master. What initially drew you to watercolor, and what keeps you inspired to continue working with it?
While at the American Academy, I saw an instructor, Mr. Irving Shapiro, do a watercolor demonstration. At that moment, I decided I wanted to have that skill and set to work teaching myself.
It can be a difficult medium to master, you have to learn to literally go along with the “flow.” I have found that the longer I work with watercolor, the more challenges it presents. Those challenges keep me stimulated and inspired. With the right attitude you admit that you’ll never “master” it. Explore, learn, explore, learn.
How does living in Jamaica influence your daily creative practice, and are there specific elements of the landscape or culture that you find yourself drawn to depict?
Sharing my time between Kingston, Jamaica and New Orleans makes for an interesting dynamic. There are a lot of similarities, but with explorable differences. Jamaica is a year-round riot of color which seems to affect my color sense. New Orleans has a strong sense of mysticism which has bled into my work. I feel they have reinforced each other.
With numerous one-man shows and group exhibitions, how do you prepare? Do you have a routine or mindset that helps you approach these events?
In preparing for an exhibition I try to submerge myself in my chosen theme or subject—whether I’m commenting on social conditions, aspects of a personality, mentally flowing along the lines of a flower, or feeling the light and shadows of a landscape. Observation, research, and analysis are all necessary tools. However, establishing deep empathy with the theme or subject is key to the final outcome.
Patrick Waldemar, Pumpkin Blossom, 2017, Acrylic
Can you describe a time when you felt the most joy or satisfaction in the process of creating a piece? What made that experience stand out for you?
Because of the difficulty of the medium, one of my cherished memories was seeing my first watercolor painting come together that actually produced the mood and look I wanted to capture. It being the first one I ever sold put the frame on that memory.
In general though, it excites me whenever a piece I’m working on starts really speaking the truth I’m trying to convey. I get scared of spoiling it and have to take a break to recapture that fresh approach in order to finish.
Looking forward, are there any new directions or themes you’re excited to explore in your upcoming work?
Presently, I’m working on a series of paintings based on the Congolese iNkisi protective dolls. Specifically, I am finding a commonality between nails driven into the iNkisi dolls to activate protective ancestral spirits and a crown of thorns or a bleeding heart encircled by thorns to symbolize “suffering” for our sins. I am currently wondering about the spirituality of pain for healing with acupuncture thrown in as a not-so-wild card.
Artist Contact Info
Instagram: @1wald1
Email: pwaldart@gmail.com
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