{"id":1565505,"date":"2025-07-02T02:01:08","date_gmt":"2025-07-02T01:01:08","guid":{"rendered":"https:\/\/www.jacksonsart.com\/blog\/?p=1565505"},"modified":"2026-03-31T16:11:37","modified_gmt":"2026-03-31T15:11:37","slug":"austin-hayman-the-human-condition","status":"publish","type":"post","link":"https:\/\/www.jacksonsart.com\/blog\/2025\/07\/02\/austin-hayman-the-human-condition\/","title":{"rendered":"Austin Hayman: The Human Condition"},"content":{"rendered":"

Austin Hayman won a Jackson\u2019s Choice Award in Jackson\u2019s Art Prize this year with his work The Portrait<\/em>. In this interview, he discusses starting out as ‘the art kid’, his journey in and out of creativity, and his love of painting his friends.<\/p>\n

Above image: <\/strong>Austin in his studio<\/small><\/p>\n

\n
\"Austin
The Portrait<\/em>, 2023
Austin Hayman
Oil on canvas, 91.4 x 91.4 cm | 35.9 x 35.9 in<\/figcaption><\/figure>\n

Josephine: Could you share the story of how you became an artist and tell us more about your artistic background?<\/strong><\/p>\n

Austin: I began drawing and painting as a young child, investing an incredible amount of time toward it. I was \u201cthe art kid\u201d through elementary school, but only to abandon it all by the time I started high school for my obsession with music. I took periodic, short-lived attempts at painting again through adulthood. I was mostly unsatisfied with the work, giving it up once again. For some reason, now in my 30\u2019s, the most recent attempt stuck. I was seeing it all different, but mostly allowing myself the space to make bad paintings and continue painting anyways. I trusted my taste but hadn\u2019t allowed the skill to catch up. Now painting is all I think about.<\/p>\n

\"Austin
Work on display in the studio
<\/figcaption><\/figure>\n

Josephine: What does a typical working day in the studio look like for you? Do you have any important routines or rituals?<\/strong><\/p>\n

Austin: It\u2019s a new experience every time I paint, that could be what is so great about it. I don\u2019t know if I have any specific routines but I would say that I spend far more time just sitting and looking at the work than actually painting. I\u2019m pretty methodical about it. I really think through the application and the approach before painting each aspect, and that requires a lot of just sitting and thinking. Also seeing the work in new places, meaning that I\u2019ll place it on a white wall so that I can imagine it in a gallery, or place it across the room so I can look at it as far away as possible. Basically, finding ways to pretend I\u2019m seeing it for the first time and addressing how that makes me feel.<\/p>\n

\"Austin
Two Parts Protest; One Part Tired<\/em>, 2025
Austin Hayman
Oil on canvas, 91 x 121 cm | 36 x 48 in<\/figcaption><\/figure>\n

Josephine: Which materials or tools could you not live without?<\/strong><\/p>\n

Austin: There are a few colours that always seem to be the answer for me. Burnt Sienna, Payne\u2019s Grey, Prussian Blue, Green Earth Hue, and Naples Yellow Light. I could spend the rest of my life making paintings with only these colours and I\u2019d be okay. Brush wise my Jackson\u2019s Black Hog brushes and my Silver Jumbo Filbert brush are essential.<\/p>\n

\"Austin
Materials table
<\/figcaption><\/figure>\n

Josephine: What are the stages of your work on a painting? Do you make drafts?<\/strong><\/p>\n

Austin: The first stage is typically doing a base layer of burnt sienna. Then sketch out the composition and just dive in. Usually my subject comes first and I often don\u2019t move on until I have the subject in a state I\u2019m pretty happy with. Many people will take a first pass at the whole painting, then circle back and refine each section. I\u2019ve just gotten in the habit of trying to get each piece near done before moving on. But I do usually need to circle back to some degree to make it all feel cohesive and symbiotic.<\/p>\n

\"\"
Work in progress<\/figcaption><\/figure>\n

Josephine: Do you regularly draw or keep a sketchbook? If so, how does this inform your work?<\/strong><\/p>\n

Austin: I go to a figure drawing workshop here in Los Angeles called Melrose Drawing Club regularly. We do a variety of poses but some are as short as 2 minutes. Doing this sort of work forces me to really lean into my instincts while drawing but also teaches me so much about the human body. It\u2019s such an incredibly nuanced thing and we all know when it\u2019s wrong. Building those reflexes has helped me incredibly with painting.<\/p>\n

\"\"
Austin Hayman working on The Bad Idea<\/em><\/figcaption><\/figure>\n

Josephine: Have you ever had a period of stagnation in creativity? If so, what helped you overcome it?<\/strong><\/p>\n

Austin: Absolutely. The drag is always in getting the session started. Once I have a brush in my hand then I\u2019m in. I always say the hardest part of the workout is lacing up the sneakers. If I ever feel really unmotivated I will watch videos and interviews of other painters. I will pull up YouTube and watch anything on Art21 or Louisiana Channel and I\u2019ll be excited to paint. To listen to people talk about art is wildly inspiring for me.<\/p>\n

\"Austin
The Bad Idea<\/em>, 2024
Austin Hayman
Oil on canvas, 121 x 121 cm | 48 x 48 in<\/figcaption><\/figure>\n

Josephine: Are there any specific artists or mentors who have inspired you?<\/strong><\/p>\n

Austin: My good friend, John Roman Brown, has enlightened me to a laundry list of skills. It\u2019s invaluable to have someone who you can get into the nitty gritty with about why things work and why some don\u2019t. It\u2019s also essential to trust their taste.<\/p>\n

\"\"
Heaven Already Decided<\/em>, 2024
Austin Hayman
Oil on panel, 20 x 25 cm | 8 x 10 in<\/figcaption><\/figure>\n

Josephine: What were you thinking about or exploring at the time you painted The Portrait<\/em>? What inspired it, and how did it come to be?<\/strong><\/p>\n

Austin: So much of my work is exploring the human condition in as quiet of a space as possible. I was really just trying to achieve an expression that was so impactful though nothing is happening. It leaves so much space for the viewer to project their own reasoning for the pain in the subject\u2019s face. Something worth noting is that the shirt was really just an underpainting that I fully intended to paint out but when I got to that point, I couldn\u2019t give up that colour. It felt so balanced, I had to just leave it as is.<\/p>\n

\"Austin
The Sun Is Always In My Eyes<\/em>, 2025
Austin Hayman
Oil on panel, 30 x 30 cm | 12 x 12 in<\/figcaption><\/figure>\n

Josephine: Why did this piece feel like the right one to submit?<\/strong><\/p>\n

Austin: It was a piece that I realized connected as soon as I shared it with people. It was one of those pieces that just did exactly what I needed it to. I\u2019ve also realized that I\u2019m way too biased when reviewing my own work. I\u2019ll finish what I think is my best work only to discover people aren\u2019t particularly excited. On the other hand, I\u2019ll take another painting as far as I can and tell myself \u201cwell that\u2019s all I got.\u201d Then people think it\u2019s my best work. Point is, I never know.<\/p>\n

\"\"
\u201cThe Chef\u2019s Kiss\u201d in the studio
<\/figcaption><\/figure>\n

Josephine: How did it feel to move through the stages in the competition and win a Jackson\u2019s Choice Award?<\/strong><\/p>\n

Austin: It felt crazy! I very much didn\u2019t expect to be a prize winner. I told myself that if I was shortlisted that was a great accomplishment, and it is! But, that was sort of my goal. So, waking up to the email that I was a winner, I was elated and it is incredibly validating that what I\u2019m doing connects with people.<\/p>\n

\"Austin
The Moment Is Gone And It Won\u2019t Come Again<\/em>, 2025
Austin Hayman
Oil on canvas, 20 x 25 cm & 13 x 20 cm | 8 x 10 in & 5 x 8 in<\/figcaption><\/figure>\n

Josephine: This painting, among others of yours, plays with the glossiness of the light on skin. Is this an effect you achieve in person with the lighting on your subject, or something you highlight later down the line on the canvas?<\/strong><\/p>\n

Austin: I realized quickly when I began painting that the paintings I struggled with most, and were the most flat, was largely in part because the lighting wasn\u2019t how I\u2019d like, or wasn\u2019t dramatic enough. At the time, I wouldn\u2019t realize this until deep in the painting and wondering why it wasn\u2019t any good. These days I really try to curate how the light is hitting the subject, I can then make choices about how dramatic I want to go with the highlights and shadows. But at least it\u2019s my choice at that point.<\/p>\n

\"\"
Austin Hayman portrait<\/figcaption><\/figure>\n

Josephine: Do you have a personal relationship with your sitters, and if so, do these relationships affect the way you portray them, or the surroundings you depict them in?<\/strong><\/p>\n

Austin: Sometimes I do, sometimes not. I enjoy painting my friends, and people like doing it. The challenge you\u2019re up against at that point is \u201cdoes it look like this person enough?\u201d, and that\u2019s a tough road to go down. It\u2019s healthier to be less concerned with that and just try to make the best painting I can, but it\u2019s hard not to get wrapped up in that. Because we\u2019re so familiar with all the little faces our close friends make. There is a sentimental aspect about painting friends, and I like that.<\/p>\n

\"Austin
Summer; 2003<\/em>, 2025
Austin Hayman
Oil on panel, 15 x 30 cm | 6 x 12 in<\/figcaption><\/figure>\n

Josephine: Are there any new materials or ideas you’re excited to explore using your prize?<\/strong><\/p>\n

Austin: I\u2019ve been recently using linseed oil to thin my paints and I\u2019m loving it. It gives a really nice little gloss to the painting even without a varnish, but most importantly it\u2019s sort of the consistency of olive oil and that moves really well. I\u2019ve also been doing some oil pastel drawings for the first time ever. I\u2019ve been doing them small and low pressure and it\u2019s a nice break from larger more thought out work, but still full of so much texture.<\/p>\n

\"\"
Cambridge<\/em>, 2024
Austin Hayman
Oil on canvas, 76 x 101 cm | 30 x 40 in<\/figcaption><\/figure>\n

Josephine: What\u2019s coming up next for you?<\/strong><\/p>\n

Austin: I\u2019m working towards two different shows this autumn: one in Toronto curated by Katie Butler with a really creative concept I\u2019m excited to share when it\u2019s time, then, beginning some new work for a show in Milan with Orma Art. All very exciting for me and I\u2019m just thankful to get to share what I love doing.<\/p>\n

Follow Austin on Instagram<\/a><\/p>\n

Visit Austin\u2019s website <\/a><\/p>\n

\"\"<\/a><\/p>\n

\n

Further Reading<\/h2>\n

Meet Eleanor Johnson, Winner of Jackson’s Art Prize 2025<\/a><\/p>\n

Jackson’s Art Prize 2025 Exhibition at Affordable Art Fair<\/a><\/p>\n

How We Collaborate With Artists<\/a><\/p>\n

Expert Advice on Making Your Way as an Artist<\/a><\/p>\n

Shop Oil Painting on jacksonsart.com<\/a><\/strong><\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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