Interview: Amarildo Topalis
Julia Randall, an artist hailing from New York City, finds joy in depicting exaggerated mouths and tongues, meticulously observing real human features. Her artwork encompasses a fascinating blend of eroticism, humor, beauty, disturbance, emotions, and a mix of the natural and unnatural elements. Through her skillful creations, viewers are transported to a realm of innocence, corporeality, and desire.
Julia’s talent has earned her solo exhibitions both in New York City and Sydney, Australia, where her unique drawings have been showcased. Additionally, her artwork has been selected for inclusion in various group exhibitions across the United States.
Eroticism and sensitivity can define your work, even though, only some body parts can be seen in most of your work pieces. Why are these parts isolated from the rest of the body?
We see the mouth and tongue all the time, yet they are simultaneously very private and intimate. The mouth is the body’s critical site where we kiss, bite, and eat; it is a portal to speech and meaning. It is ferocious and tender. Isolating the mouth and tongue in white space adds to the sense of voyeurism, which imbues the images with an erotic charge. I also chose to isolate the mouth because I like the way pictorial space is altered; the lips sit on the surface of the paper, the tongue reaches out to the space of the viewer, and the cavity of the mouth punctures the picture plane and alludes to deep space.
A bubble gum is a game, a taste, and at the same time, a sexy and innocent image. What does it mean in your art work?
I was initially attracted to the idea of bubble gum as a subject because of the link to my previous drawings of mouths and saliva bubbles.
Bubblegum is a banal, disposable material, and the pleasure taken from its flavor is fleeting. Metaphorically, a fully inflated bubble suggests cheeky youthful pleasure and optimism; however, a deflating bubble hints at disappointments and missed opportunities. The bubble is a vessel that holds our breath, for a brief moment, in a physical form. Seen as a group, the inflating/deflating bubble imagery is a physical manifestation of breathing. When drawn larger-than-life and in hyper-detail, the images are abstracted and imbued with mystery, and bring to mind bodily organs and membranes. As surrogates for the body, they can appear abject, creepy, and often humorous—an intersection of the absurd and grotesque.
The erotic current that runs through the bubble gum images is more suggestive than illustrative: the viscosity, wetness and the exposed skin of the bubblegum echo the physicality of actual erotic experience.
What is your relationship with animals and what do you think about the experiments done on them for cosmetic products? Have you ever thought of something that could prevent these acts?
I love animals, insects, and birds. I draw them because of my appreciation of nature and all its amazing variety. I believe that humans should leave the natural world as much alone as possible. Genetic modification and all the biotechnical “advances” in American technology and agriculture make me incredibly nervous. I have no idea how to prevent or counteract this favoritism of corporate interests.
Your work has been exhibited in large galleries and has been published worldwide. What else do you consider as a great success, regarding your work?
My moment of greatest work-related pleasure was working on the Lick Line mouth drawings. I felt that I had finally stumbled upon an idea that was really mine, that was sexy and funny, strange and beautiful. Also, I really taught myself how to draw well while making that series.
My first gallery show of Lick Line also brought me a powerful feeling of success. I had never shown my artwork until I was 34 years old. I was introduced to a New York dealer, Jeff Bailey, who really liked my mouth drawings and gave me my first solo show. It felt great (and terrifying!). It was my first time showing my art to an audience of strangers—and I loved the feeling of seeing my work totally separated out from me. It was a real learning moment for me, as an artist.
What is the biggest trap and misguidance in our society today?
I can only speak for myself—I am only one person, and I am not sure what or who “society” is. For me, one big trap is falling prey to the idea that there is a “correct” way to live one’s life, that there is a standard we all should be aiming for. I think we are all very individual; my desires may be different from yours, and your goals or aspirations may be opposite of mine.
Is there anything you’d like to draw in the future but has not matured in your head yet?
The future is so unpredictable! When I was younger, I had the idea that I had to “choose my path,” to make plans and decisions for my artistic future. As I have aged, and life has presented me with major, unforeseeable changes, I have relinquished that way of thinking. Everything is always in flux. Having said this, I want to be able to keep making my art, to keep my closest relationships vibrant, and to remain open to any opportunities (professional and personal) that present themselves.
Photo Courtesy of Artist.
