AXIS

The hot sun is beating on my skin, and there is no shade. The UK is experiencing a phenomenon in which the citizens of the country are constantly complaining about when the rain will fall. The thought is troubling because all I think is to just enjoy and bask in the yellow beam. 

The pavement is burning a hole through the sole of my shoe, and there is no shade. The streets of Shoreditch smell of cider and sunscreen. However, on the left, there is a gallery called ‘The Bomb Factory’, which looks cool with conditioned air. My foot is already stepping in without any conscious effort, and is greeted by an artist whom you have been going back and forth through messages about their work for the past several days. Their name is Jaye Ink, and you can see their work behind them. Curiosity fills you.

Before the questions were asked, we walked around the gallery looking at the pieces that were on display. Jaye Ink was sharing a space with other artists such as Maise Ridpath and Leila Nina Mistretta. The gallery was white and had wood accents, but this didn’t remove the initial feeling of Jaye Ink’s pieces. Once the orderly walk came to an end you both stood there just looking at the first piece that was near the door, and waited there for a moment as that’s all you do when something has caught your eye. Humans are curious beings, so that is no fault when we just want to stare. In the first couple of seconds, there are no thoughts, just the colours bouncing in my head, then that’s bulldozed by the wondering of how Jaye Ink blended this, how that texture was made, and so on. After a considerable amount of time, I asked a couple of questions that my curiosity wanted to breech. 

Me: At first glance, your work carries a sense of maximalism. How do you approach this theme in your artistic process and what draws you to it?

Jaye: My style used to be very maximalist — overwhelming, even. But recently, I’ve stripped it back. I create these simplified characters now, and I try to explore themes of opulence and excess through things like sunburns and veneers. I’ve been fascinated by how celebrities are replacing their natural teeth with these perfect fake ones — veneers as status symbols. There’s something eerie and theatrical about it.

It really started with my fascination with video games. I was obsessed with the idea of avatars and how people customize them. But now, I see that spilling into real life — how we’re encouraged to treat our own bodies like customisable avatars. I think there’s a kind of theatre that comes with that — this merging of digital and physical identity.

We rambled passionately about how there is this constant need to customise yourself to always need the next big thing, as it raises the question, ‘Will we ever be satisfied? Will there ever be a point where satiation can be a topic which we relate to as a species, with consumerism at an all-time high? This line of questioning put the playful thought that instead of humans, we are the avatars in this space, and we just have this incessant need to keep changing ourselves, which makes Jaye Inks’ art this thread of connection. I wanted to know how Jaye Ink got to this level of thought, and what was the art piece that sprouted this? I was walked to the specific piece, which was called ‘Busy Doing Nothing’, to get my answer.

Jaye: This character is sunburnt too. She’s holding a matcha latte because it’s a super trendy drink. There are also small nods to things like Starface pimple patches, tooth gems, and collectible figurines like Sonny Angels. Except in this universe the Sonny Angels are less angels and more devil’s cosplaying as angels. This one is positioned on the character’s shoulder like it’s whispering into her ear, swaying her thoughts to lean into consumerism.  I’m really interested in how pop culture, consumerism, and cuteness can create something visually seductive but emotionally heavy.

There was also her piece ‘Imagination is Better’ 

Jaye: This piece is from last year and it’s the first of its kind for me. In many ways it opened up the door for the others. This character  is inspired by social media filters. You know when filters add things floating around your head, like hearts or butterflies? I imagined a figure completely trapped inside that, surrounded by cute visuals but haunted on the inside. Their face is black and white, looking ghostly. In Arabic, I wrote “Il Khayal Ahla” (meaning “Imagination Is Better”) on the piece. It reflects this contrast between external aesthetics and internal emotional reality. Social media can feel like a toxic performance space. I wanted to show what it can feel like to be stuck in that feedback loop.

Even after understanding the nature of the work, I couldn’t stop wondering how Jaye Ink transforms flat surfaces into something that feels three-dimensional — how each layer, though seemingly confined, seamlessly intertwines with the others.

Jaye: A lot of my pieces are made using wood or cardboard. I draw the shape, cut it out, collage, and use a mix of mediums such as acrylic paint and ink. For example, for “Imagination Is Better”, I poured a layer of wax for a blurry texture, then layered resin on top. Between each resin pour, I drew more details, creating this illusion of depth and haze. I’m obsessed with shiny textures — whether it’s resin or just painting highlights to make something look oily, over-glossed, or even sweaty. It plays into my interest in overdoing — pushing surfaces to the point of discomfort.

As Jaye Ink describes what is supposed to come through within their art, I thought about when they said, In Arabic, I wrote “Il Khayal Ahla” (meaning “Imagination Is Better”). I wanted to know if there is a strong, constant influence of culture within the work. Is it fleeting or is it ingrained? How are they navigating this? Does it come with a push and pull force or a streamlined river?

Jaye: Definitely. I reference North African Amazigh facial tattoos a lot, but I’ve also started freestyling my own symbols to avoid misusing designs that are too specific or sacred. Jewellery also holds deep significance in Libyan culture, and our jewellery is quite detailed and meant to be layered. I loved that since I was a little girl, and now as an adult I still carry that love of over-accessorizing and decorating. Whether it’s adding charms to a bag or layering necklaces, there’s a joy in personalising an object or the body. 

We both had the good habit of going on tangents and running away with topics that moved us away from the initial subject matter, but this did not cause an issue, as this helped us grasp a new understanding of Jaye Ink’s work. It brought us to a topic on how Jaye Ink wants their work to be perceived and in what way they want their art to be consumed.

Jaye: I’d love to have a recognisable character style, like Yoshitomo Nara. Something people see and immediately connect with me. I’ve settled into how I want the faces and bodies to look — wide eyes, ambiguous age, and feminine but not objectifiable. These girls exist in their own world. Maybe one day I’ll age them, or evolve them, but for now, they just are. And that’s enough. 

Constant conversation keeps both of us on the edge of our toes, with me having a new knowledge base of Jaye Inks’ art, connecting it to other references, and trying to have my own meaning and understanding of it. Leaning into my curiosity, there was an urge to know what would be next. Where can I see more, or if there will be more? 

Jaye: Right now, it’s just about making more work. I barely finished “Busy Doing Nothing” in time for the show. This is the foundation, not the finish line. I want to keep developing physical work — especially using cardboard — and eventually revisit digital work too. I used to do a lot of illustration and graphic design. I love, love, love that “2.5D” aesthetic like in The Amazing World of Gumball, Arcane, TMNT, or Scavenger’s Reign — where textures feel layered and physical even in digital space.

When Jaye Ink said the words ‘The Amazing World of Gumball, Arcane, TMNT or Scavenger’s Reign,’ my eyes lit up as this gave us another tangent to journey through. The love of animation cleared a lot of questions, as when I glanced at the art again, I could gauge the inspiration from it. With this I told Jaye Ink that speaking to them was somewhat transformative as looking at the art without the narration is great and all but with it, especially from artists can open a new portal of understanding (I don’t know if those were the words used but I sense it was along the same lines I hope Jaye is nodding with approval when they read this) 

Maybe you missed Jaye Ink’s exhibition that was held in Shoreditch, but I’m sure it won’t be the last. I hope it’s not — but I still find myself thinking about the layering of wax and resin in the pieces, and whether I, too, fall into the trap of overconsumption and consumerism. If I do, then how — and where?

Jaye Ink, you have made me contemplate, and I thank you.

Take a look at more work: www.jayeink.com