About Jordyn
I’m Jordyn Fullaway, a mixed media artist based in Rhode Island. I work with oil, acrylic, and collage in an intuitive, responsive way — letting color, rhythm, and sensation guide the process.
My background in neuroscience and philosophy shapes how I move through the world. I experience color as something felt as much as seen, and painting becomes a way of listening — to sound, to pattern, to the subtle shifts that happen beneath the surface. Rather than beginning with a fixed outcome, I follow what emerges through repetition, movement, and attention.
The work is built slowly, through layers. I cut, paint, assemble, and rework the surface until the piece begins to hold its own weight — carrying memory, texture, and traces of its own making.
Nature is a constant collaborator in my practice. I’m drawn to cycles, growth, and unseen connections — roots beneath the soil, currents beneath the water, vibrations that tie everything together.
My process begins without a plan. Most pieces start with music playing in the studio, used to establish rhythm and momentum. Tempo, repetition, and shifts in sound influence how I move through the work — when I layer, pause, or how I respond to the developing texture.
I work in stages, building and breaking down the image over time. Paint and collage move back and forth: areas are covered, cut into, pulled apart, and reassembled. Some passages come together quickly, while others require months of returning and revision. I pay attention to what feels resolved and what continues to ask for change.
Time and distance are essential to the process. I step away often, come back with fresh attention, and make small adjustments based on what still feels unsettled. I leave marks visible and edges imperfect, allowing the history of the piece to remain present rather than polished away.
The work is finished when it reaches a sense of balance — when the movement slows, the surface holds tension without strain, and nothing asks to be added or removed.
Nature plays an ongoing role in my work, not as a subject to be depicted but as a system to move within. I’m drawn to patterns that repeat across environments — growth, erosion, balance, and return — and how those rhythms echo what happens in the studio.
Spending time outdoors sharpens how I notice color, movement, and scale. Shifts in light, weather, and terrain influence my sense of pacing and structure, often finding their way into the work indirectly rather than through literal reference.
I think of painting as a way of staying attentive to those cycles. The studio and the natural world inform one another, creating a continuous exchange between observation, memory, and making. That relationship — between environment, memory, and making — runs quietly through everything I create.
