#Childhood nostalgia series

What I really want is to make something personal that triggers that same nostalgia in others. What is ostensibly a scene from my childhood, is really just a screen for the audience to project their childhood. I didn’t actually look like that as a kid, and I don’t know if I climbed any fences, but it’s a feeling I remember.

#Childhood nostalgia series

So, I’m making a series of paintings about my youth, and the first is an image of two kids climbing a fence. Nostalgia is a really powerful tool for an artist, it can transport people. JJ: Lately, I’ve been thinking about nostalgia a lot. INT: What mood do you look to evoke in your illustrations? My time studying illustration allowed me to explore those different paths and find out what worked best for me.

There are so many different avenues to get your work out into the world, whether it’s through comics, editorial, or animation. What eventually attracted me to illustration was the accessibility. Jackson Joyce: Initially, I just wanted to be a better painter but all the paths I saw as a painter ended up in a gallery. It’s Nice That: Why did you decide to study illustration? Jackson brilliantly captures the existentialist human condition, and we have all been there daydreaming out into the distance like one of his delicately painted subjects. As a result, his illustrations centre on perfectly captured moments, but utilise an ability to take everyday occurrences and turn them into something sublime.Ī man collecting a takeaway drink from a drive-thru, a woman driving her car or a man smoking a cigar is painted so expressively you’re almost transported into the scene. “There’s something about that first instinct that usually ends up creating a good image”, he points out. Jackson studied at Rhode Island School of Design, where he worked hard but always trusted his intuition. Be it from painting in coffee shops, on aeroplanes or in the studio, Jackson’s illustrations play with proportion and mood their cool colour tones, soft shadows and sad, dark eyes create strange and foreboding narratives. A thinker that illustrates the daydreamer, he captures characters gazing melancholically into the distance. Part I: The Cultural Dynamics of Cross-Generational (Re-)appropriationġ Historical Roots of Consumption-Based Nostalgia for Childhood in the US.Louisana-born illustration graduate Jackson Joyce claims he spends most of his time stuck in his head. Pushing against nostalgia's persistent associations with wishful thinking, false memories, and distortion, this collection suggests nostalgia is never categorically good or bad in itself, but owes its benefits or defects to the ways in which it is brought to bear on the representation of children and childhood. In a departure from the notion that childhood nostalgia is the exclusive prerogative of narrative fiction, section four looks for its traces in the child sciences.

Eschewing the dichotomy between restorative and reflexive nostalgia, the essays in section three address the ethics of nostalgia in terms of child agency and depictions of childhood. In these essays, the contributors suggest that childhood toys and media play a role in the construction of s the imagined communities (Benedict Anderson) that define nations and nationalism. Essays in the volume's first section identify recurrent patterns in the recycling, adaptation, and remediation of children's toys and media, providing context for section two's exploration of childhood nostalgia in memorial practices. Rather, it is associated through contemporary convergence culture with the commodities of one's youth as they are recycled from one media platform to another. No longer is childhood nostalgia reliant on individual memory. While Romantic-era concepts of childhood nostalgia have been understood as the desire to retrieve the ephemeral mindset of the child, this collection proposes that the emergence of digital media has altered this reflective gesture towards the past.