Mithra Stevens in Conversation with Abstract Expressionist Painter, Jack Coulter
Jack Coulter is an independent Abstract Expressionist painter from Belfast whose work is informed by synaesthesia–a neurological condition that allows him to experience sound as colour. In 2021, he was listed in Forbes’ ‘30 Under 30’ for Art & Culture and described by the Financial Times as “one of the most popular abstract painters emerging today.”
The Arts Council Collection of Northern Ireland purchased one of Coulter’s paintings when he was just 21 years old. Today, his work can be found in the private collections of Sir Paul McCartney, Coca-Cola, Patti Smith, Anne Hathaway, and the Freddy Mercury Estate.
Hot off the heels of a significant sale at Sotheby’s in November 2021 that sold for double its estimate, MADE IN BED recently spoke with the artist to learn more about his process of painting sound, his first upcoming solo exhibition, and the role of the artist in society today.
Jack Coulter.
“I’m reacting to sound in real time, it’s never a case of working over something when depicting a certain track or composition. I hear a specific sound that resonates a certain hue or tone, then try my best to emulate it.”
Jack Coulter, All Too Well (Taylor's Version) (by Taylor Swift), 2022.
Mithra Stevens: Could you introduce yourself and tell us a little bit about where you’re from and your art practice?
Jack Coulter: My name’s Jack Coulter and I’m a painter from Belfast. I began painting in my early teens, working from the garage of my house growing up. My practice predominantly consists of working from music and visually transcribing sound onto canvas due to my synaesthesia. I’ve just moved to London this year which is very exciting as well. I have my first major solo exhibition here this year and it’s everything I always dreamed of. I’m dying to let everyone know where it’ll be held! It’s a real dream come true.
Jack Coulter, The Man Who Sold The World (MTV Unplugged) (by Nirvana).
MS: Congratulations! That’s very exciting and I cannot wait to find out more. Could you elaborate on how you like to work, what your favourite medium is, and what your practice looks like as a person who experiences synaesthesia?
JC: I always work with the canvas on the floor. It allows freedom to move around the canvas which greatly enhances my approach. I paint very quickly–my process kind of requires it. I’m reacting to sound in real time, it’s never a case of working over something when depicting a certain track or composition. Only occasionally, when the piece isn’t necessarily at its fullest. Usually, the first one painted is the strongest. It’s the purest in a way, with no overthinking in the latter stages.
My favourite medium is household paint. I used to buy it second-hand after school in various charity shops in Belfast. It was always present in my garage at the beginning, albeit rusted and old! Whatever’s around me usually, I love using inks and oils as well.
In terms of my synaesthesia, it’s overpowering when painting. In particular, a multifaceted song as there’s endless instrumentation to depict visually. I hear a specific sound that resonates a certain hue or tone, then try my best to emulate it. I try and make sure the colours are spot on, then it’s more-so about capturing the “feeling” of a song. Feeling, colour accuracy, and form representation are all that are needed. It’s strange, similar to when you first hear a song you love. You’re aware of the instruments, yet the arising feelings and emotions you have firstly are so potent. That confusion is almost what draws you in, then you’re fully invested after. It’s strange how it translates. I’m just thankful it somehow resonates.
Jack Coulter, Cosmic Love (by Florence + the Machine), 2022.
MS: Where do you find inspiration? Do you have a favourite artwork, song, or artist?
JC: I know it’s cliche to say, I find inspiration everywhere. Particularly through film and music. Anything created with a visual “code” and dialogue that makes me feel personally addressed. With painting, I’ve always loved Abstract Expressionism. A few favourite works would definitely be Another Storm by Lee Krasner, 12 Hawks at 3 O’clock by Joan Mitchell, Billboard by Grace Hartigan and #10 by Mark Rothko. The list is endless!
My favourite artist is my aunt Christine. She sadly passed away the day before I began art college in Belfast. I grew up surrounded by her work and it’s still a huge influence.
Musically, in today’s age, anything that makes me feel something. At my core though, it’s always older music that really hits. That’s mainly down to what I heard growing up, from Whitney Houston, Kate Bush, Janis Joplin, The Runaways, Miles Davis & The Blue Nile to Nina Simone, Madonna, Blondie, Oasis, Nirvana, and John Denver. There’s a million! Orchestral, ambient hip-hop and classical are thrown in there as well. I’d need to make a separate list for music that inspires me, a playlist would actually be better! Norah Jones’ sound cuts deep, it’s quite seeped in memory for me. Sinéad O'Connor and The Pogues as well.
Jack Coulter, Matilda (by Harry Styles), 2022.
MS: Wow, what an incredibly diverse mixture of inspiration. Memory and nostalgia seem to play a large role in your practice, do you think that is what motivates you to create?
JC: Inspiring and helping others, that’s the greatest motivation. If someone feels seen or understood, that’s all you can ask for. I felt very misunderstood and isolated in the beginning, there were certain people who provided that for me. I hope my work is able to do that, even in a small way. It starts off all about you, then it needs to be shared. I’ve always disliked that Cy Twombly quote: “I swear if I had to do this over again I would just do the paintings and never show them.” It’s literally the most uninspiring statement for an artist to read. Art is for sharing, not depriving others of something because of a narcissistic attitude.
Jack Coulter, Gloria (by Patti Smith), commissioned by Anne Hathaway in 2020.
MS: Does art help you in other areas of your life?
JC: Art has given me everything in my life. I genuinely felt like there was a gaping hole in me before venturing into it. As in something needed to be filled? It’s a bizarre one, it feels more full now.
The main thing that art gives me is joy, in every sense of the word. It’s given me strength and hope. It’s given me purpose, confidence, and belief in myself. I think it’s a powerful thing if something can make you feel that way. It allows me to help others, on a grand scale and in my personal life. It’s given me security; in a life-sense and career-wise. Most importantly, I met my partner Laura because of art, and I’ve become the person I am because of art. It truly saved my life and never lets me down. I’ll always go to it, I’m forever in debt to art.
Jack Coulter, Take Me Home, Country Roads (by John Denver), 2022.
MS: It’s beautiful to hear that you met your partner because of art and that through your practice you have found a sense of security and, perhaps, belonging. How has your practice changed and evolved over time?
JC: In a painterly sense, it has and it hasn’t at all. I think it’s changed not necessarily in terms of style or the eclectic nature of each. Yet, it’s evolved as I’ve evolved as a person. I honestly think my work was better when I first started, I felt like I really needed to prove myself back then. Especially being independent, as that stands for a lot. I’m also aware there are a lot more people seeing it now, I’m a bit more selective.
Jack Coulter, Heaven is a Place on Earth (by Belinda Carlisle), 2021. Sold at Sotheby’s in 2021.
MS: As an independent artist, how do you handle the business side of things and balance that with your art practice?
JC: Being independent was definitely the only option when starting, there was no other choice. I didn’t come from money, nor had any remote connection within the industry. Therefore, in terms of business, I needed to learn and throw myself into it. I’m still learning every single day. The business side is equally as important as your art. I’ve had to develop into someone who can deliver in every department. Trust is the main aspect, the person who’s buying a piece needs to know everything’s in safe hands. When someone’s spending their hard earned income on a work of mine, I’m not going to take it lightly. I’ll do everything in my power to make it a positive experience and process. I’ve dealt with every type of client at this point, it’s kind’ve become second-nature now. The stress and pressure has subsided a lot through experience. Being exposed to this from being independent has allowed me to develop in a different way, it’s provided insight to the business side. It feels special to have got here this way, I’ve made a lot of friends who’ve reached out or bought a piece over the years. It’s such a special thing having those relationships and connections, I’m so thankful for it! I’ve had people come in over the years who’ve really believed in me, they’ll never know how much it truly means. Especially those who’ve given me such great opportunities as well. I’ll never ever take it for granted.
Mr. Bad Guy (by Freddie Mercury), 2021. Commissioned by The Freddie Mercury Estate in 2019.
MS: What type of challenges have you faced in your practice?
JC: I’m handling everything myself; therefore, that can bring quite heavy challenges. Even small things on a daily basis. If something goes wrong, I’m the one dealing with it. There’s no one to hide behind, nor can I ever really switch off. I’m always thinking about the next step. I’ve learned how to balance things better now which is important. I was just out of art college when things started happening press-wise. Navigating that has been a learning curve as well. One challenge, if challenge is the right word, is patience. I’m the most impatient person ever. I’ve really had to work on that. It’s quite a generational thing, needing things to happen immediately. I have projects in the background at the moment that’ve taken years. Yet, it’s all worth it in the end.
Jack Coulter, Sad Song (by Oasis), 2022.
MS: It’s fantastic to hear first-hand what it’s like being an independent artist and the amount of work that goes into building relationships with clients and navigating a career in the art world. I know you have a lot of exciting things that you’re currently working on, could you share a little about what’s next for you?
JC: So many exciting things! I can’t wait to let everyone know, especially where the show’s being held. There’ll be an announcement closer to the time. My next auction with Sotheby’s is later this year as well, it’s a very important piece. The Science Museum too! I feel honoured to have a piece going in there, it will be part of an exciting new exhibition that’s touring for five years.
Jack Coulter, Mendelssohn’s Violin Concerto in E Minor, painted live with the London Chamber Orchestra in 2018.
MS: That is amazing, so many exciting things coming up for you. Finally, the question I like to ask all creatives: what do you think the role of the artist is within society today?
JC: Every artist’s role in society differs. The most important thing is to help people and make a difference. As well as to provide something that allows people to feel seen and be themselves. The world’s in a disastrous state at the moment, everything’s going backwards and it’s absolutely infuriating. Artists can bring people together and stimulate change.
Jack Coulter, Yesterday (by The Beatles), 2019. Owned by Sir Paul McCartney.
Thanks to Jack Coulter on behalf of MADE IN BED.
All images courtesy of the artist.
Mithra Stevens
Features Co-Editor, MADE IN BED