Matney Gallery is proud to spotlight the work of Jill Carnes—an artist whose visual language defies easy classification. With roots in Athens, Georgia’s rich creative soil, Carnes brings a rare synthesis of intuition, memory, and mythology to her work. Her drawings, paintings, and experimental media invite viewers into a world that feels both ancient and immediate, personal and universal. Her work is featured in our exhibits at Midtown Row in Williamsburg VA and the recent exhibition The Portrait: Myths, Histories and Allegories featuring Steve Prince amongst others

Lee Matney: Can you tell us about your artistic process? Do you begin with a preliminary study?

Jill Carnes: No, I don't use a preliminary study. I simply start with a blank piece of paper and a pen. And since it's pen, there's not much room for error. However, when I created this particular piece, I knew from past experience that I had a few ideas I could incorporate and compose as I went along. If I felt I was getting into a tight spot, I could pull back a bit and adjust because I knew from experience what worked. A lot of it is simply a matter of diving in and seeing where the process takes me.

Lee Matney: You've been working with black and white drawings recently. What draws you to that aesthetic?

Jill Carnes: I've found myself drawn to the simplicity of black and white drawings in recent years. I don't mean to suggest that color is unnecessary—it can be beautiful. However, when I'm trying to convey a story through my art, color can sometimes feel superfluous. It’s a lovely addition, but not always essential.

For me, working in black and white creates a bolder and more impactful narrative. The simplicity of the image allows the story to take center stage. I’ve been working with white ink on black paper for about a decade now, and I find it incredibly fulfilling. My earlier work was quite different, characterized by bright colors and a vibrant palette. But as I continued drawing, I realized I enjoyed the process more without the added complexity of color.

Lee Matney: Can you tell us about the inspiration behind your recent owl drawing?

Jill Carnes: I challenged myself to create a larger piece than ever before, and this owl drawing certainly fits the bill. As I progressed, I realized that fitting the owl and its natural habitat within the drawing was proving difficult. To solve this, I decided to incorporate the habitat onto the owl itself, creating a unique visual effect. I initially placed the owl by itself and then considered adding a tree or another element to its surroundings. However, I realized there wasn't enough space for a sufficiently large tree. So, I decided to incorporate the environment directly onto the owl's body in a playful way. I've been drawing and painting for over 40 years, and during that time, I've developed a repertoire of recurring symbols and themes. These include various animals, sometimes adorned with crowns, and settings like grocery stores. I consider these elements a personal "dictionary of symbols" that I draw upon and reinterpret in my work.

The owl's design elements draw from my "dictionary of symbols," a culmination of visual stimuli and inspirations gathered over my 40-plus years as an artist. The shapes and symbols within the owl are a reflection of my personal artistic language. The owl, for me, is a symbol of wisdom and mystery. I'm drawn to the enigmatic nature of owls and the animal kingdom as a whole. Their communication and interconnectedness within the ecosystem inspire awe and wonder.

Lee Matney: Your work often features animals. What draws you to this subject matter?

Jill Carnes: Yes, there's a profound mystery surrounding the animal kingdom and its inhabitants. We often forget that we humans are also animals, sharing this planet with countless other species like owls, elephants, giraffes, cats, and many more. The way animals communicate within and even across species is fascinating and enigmatic. It's remarkable how they contribute to the intricate balance of the ecosystem, interacting with plants, flora, and the changing seasons. Nature’s orchestration of these elements is truly awe-inspiring.

Two Birds Talking About The Old Days, Punch Needle

I often find myself playfully anthropomorphizing animals, imagining them in human-like scenarios—cats in clothes sipping tea, for instance. However, this particular artwork doesn’t seem to fit that mold. Instead, I’ve chosen to focus on the owl’s symbolism as a creature of wisdom. The piece aims to highlight the wisdom found within the animal kingdom, with the “king” referenced in the title further emphasizing this concept.

The Day We Got A Piano In The House, Private Collection

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Lee Matney: Your artistic journey spans over 40 years. How has your style evolved over time?

Jill Carnes: When I first began creating art, my work was always vibrant and full of color. However, as I started to explore drawing with pencils, I found myself drawn to the simplicity and elegance of black and white. I was fortunate to experience early success selling my work, which allowed me to see what resonated with viewers. Interestingly, my artistic preferences aligned with what was popular, allowing me to create work that I was passionate about while also meeting market demand.

Over time, I realized that I simply enjoy the process of drawing without the added complexity of color. This approach works well for me, and I’m happy to continue exploring it. I believe the absence of color contributes to the simplicity of the piece. It allows the focus to remain on the content and what’s actually drawn, without relying too heavily on color as a selling point.

Lee Matney: Can you share more about your creative environment? How do you get into the flow of making art?

Jill Carnes: Creating art is a deeply meditative experience for me. I simply put on some music or listen to an old movie, allowing myself to escape into my own world on the paper with my pens. I enter a meditative, almost hypnotic state and see what emerges. It’s truly enjoyable and relaxing—even cathartic. As I said earlier, creating art, for me, is a meditative practice. I enter a state of flow, allowing the work to evolve organically as I abandon fear and embrace the creative process. It allows me to wash away the day’s stresses and feel a sense of release. It’s a way to relieve tension and find inner peace.

Lee Matney: What happens if you make a mistake while working in ink? Do you start over?

Jill Carnes: If I make a mistake, I usually try to find a way to work with it and make it positive. Most of the time, I can successfully adjust and create something worthwhile. Of course, there are times when I realize I'm heading in the wrong direction. If that happens, even 30 minutes into a piece, I'm not afraid to start over. It’s all part of the creative process!

Lee Matney: Where can people find your work?

Shoe Sale, New York City 1966, 2021, Private Collection

Jill Carnest: My work can be found in various locations. I have pieces in Sicily, England, France, Ireland, Japan, and Vancouver. Additionally, I’ve completed commissions for clients throughout the United States. Since this is a small college town, many people have purchased my work and then moved to other areas, taking their pieces with them. This has helped spread my work to different regions.

Lee Matney: You were involved in the Elephant 6 collective. Can you tell us about that experience?

Jill Carnes: Yes, I was fortunate to be invited to participate in an exhibition at the Georgia Museum of Art that celebrated the art and music of the Elephant 6 collective. As you may know, I designed a record cover for my friend Jeff’s band, Neutral Milk Hotel. I also contributed vocals to an Of Montreal record and created artwork for other projects, including my own record cover for Thimble Circus. During that period, we were all living in the same area and were interconnected, both personally and creatively.

Lee Matney: You also have a background in music. Could you share more about that?

Jill Carnes: I have a deep passion for music. I enjoy playing a variety of instruments, including guitar, ukulele, and baritone ukulele. I also dabble in piano and love to sing. I’ve written and performed my own original songs, which you can find on my Thimble Circus CD, but I also enjoy performing standard songs. Some of my favorites include *Moon River, Smoke Gets in Your Eyes, * and *La Vie en Rose. I performed Happy Trails at the memorial of a friend Jeremy Ayers *

Lee Matney: Could you tell us about him and the “School of Jeremy?

. While "the School of Jeremy" is my own personal term, I think it speaks to the profound influence he had on those around him.

Jeremy, who passed away in 2016, was a close friend and mentor to many of us. He had an incredible life – attending Pratt in the seventies, spending time at the Factory with Andy Warhol, and even appearing in one of Warhol's films. He eventually returned to Athens, his hometown, and became a fixture in the vibrant music scene that emerged.

Beyond his fascinating experiences, Jeremy was a truly wonderful friend and person. He taught us so much about life, philosophy, and the importance of kindness. As a young person, having a friend like Jeremy was invaluable. He was inspiring, and spending time with him always left you feeling enriched. We'd talk about art, movies, books – anything and everything. I'll always cherish the memories and lessons from my friendship with Jeremy. He was certainly a remarkable figure. My experience is just one story, but when you consider the countless artists in this town and the extent of his influence, his impact is truly extraordinary. He was deeply connected to the art scene here. He had a gregarious side and excelled at connecting people, yet he also valued his solitary time as an artist. He embraced people from all walks of life, regardless of their background or eccentricities – in fact, I think he truly cherished those unique qualities. He was an exceptional individual.

Jill Carnes’ work has been shown in diverse locales including Athens, Asheville, Atlanta, Austin, and New York City and in exhibitions alongside Lonnie Holley, Thornton Dial, Clementine Hunter, Bill Traylor, Howard Finster, Mose Tolliver and Jimmy Lee Sudduth. Jill Carnes' artistry is a vibrant tapestry of color, pattern, and innovation. Her paintings and drawings have adorned the album covers of bands such as Neutral Milk Hotel and cd inserts for projects featuring R.E.M., Indigo Girls, Madonna, Vic Chesnutt, Victoria Williams, Pearl Jam, Garbage, Kristen Hersch, Soul Asylum and Hootie and the Blowfish. Her work has been exhibited in the Georgia Museum of Art in association with the Elephant Six Collective, a group of American musicians that gave rise to numerous prominent indie bands of the 1990s, including the Apples in Stereo, the Olivia Tremor Control, Neutral Milk Hotel, Elf Power, of Montreal, and Circulatory System. Her contributions have also been featured in esteemed publications like Rolling Stone and Creem and projects for Sony Music. Jill’s talents extend beyond visual art; she also captivates audiences musically as Thimble Circus, incorporating whimsical instruments like the toy piano and trombone kazoo into her performances. Michael Stipe included Jill’s name in an art piece in his 2021 book of photography.