ROOFTOP TANNING IN THE CITY

Jule Waibel: It feels like I’ve been a creative person since I was a little kid. Creativity was part of every activity. Whether I was playing with toys, running in the fields, or writing essays in school, I was always expressing fantasies and stories. In general, I always had a creative mind and enjoyed experimenting with different scenarios from my real life.

That said, what really stands out in my mind is my first creative tool. My mom gifted me her old, orange Toyota sewing machine at the age of eight. This device lets me express my creativity at a higher level. I started constructing my own clothing, costumes, and unique patterns. All of the designs were created intuitively, which sparked my interest in working with fabrics.

JW: I was always the creative one in my social circle, but it never occurred to me to use those skills as a passion for life or as a way of earning a living. I was always told by my school teachers that pursuing a creative profession is not something I should do; it’s difficult and not financially rewarding.

At first, I briefly flirted with becoming a teacher because this profession allows you to express your creativity in a classroom setting. However, that only lasted three weeks. I then decided to go to design school. In general, I was never encouraged or brave enough to apply, but when a close friend at the time was accepted, it motivated me to apply as well. Following a grueling application process, I was accepted at the Hochschule für Gestaltung Schwäbisch Gmünd, and this started my career as a designer. Ultimately, this decision is what solidified my path as an artist and made me comfortable with who I am.

JW: I struggled a lot in my first year at the Royal College of Arts (RCA) because I was originally trained at a Bauhaus-style, form-follows-function design school. There were lots of rules and guidelines for this style. It was less about emotions. The RCA pushed me to find my voice and express myself. After the first year, I transferred into more conceptual classes and slowly let go of my industrial foundations to give more space to my intuition, my emotions, and my creativity, letting my work be more about aesthetics than function.

"You have such a good feel for style; it’s OK if an object is only beautiful," said one of my teachers at the time. I will never forget this. This was the biggest impact the RCA had on me and my work, and it ultimately helped open the door to the unfolded universe, which was my first recognized work.

JW: My time studying at Hochschule für Gestaltung, which is a sister school of the Bauhaus, provided me with the foundations of Bauhaus design. I developed a strong understanding of geometric shapes, distances, colours, and ergonomics. It’s these principles that still inspire my work today.

JW: My development as an artist has always been organic. My final project at the Royal College of Art (RCA) was an unfolded theme of paper dresses, bags, and umbrellas. I never thought that I would work as a designer in this field; however, it received a lot of attention at the RCA art show, and my work was picked up by design publications. I continued to pursue this work in my studio in London and was offered opportunities to showcase it with big brands like Bershka, the London Design Festival, and Swarowski. It naturally grew from one job to the next and from one city to the next.

Painting came much later in my life, primarily under the influence of my brother Carlo, who encouraged me to try acrylic on canvas and later oil on canvas. It started out as a hobby and, again, naturally developed. I was asked to occasionally do pop-up exhibitions in Berlin, and then once the pandemic started and I was stranded in Bali, I turned most of my attention to painting. At this point, I flow freely between the two, sometimes dedicating more time to one than the other.

JW: I’ve always been an adventurous child, but my international phase started with my time in London and has only grown from Berlin to Bali and now to New York. Travelling and seeing new places let me explore and be inspired in new ways. The influence of my surroundings is quite apparent in my work, whether it be Bali, which influenced me to design summer clothing and paint jungle themes, or New York, where I’ve created bags and painted concrete and rooftop scenarios like this edition. For me, it’s all about balance and diversity, and I’ll always need that in my life.

JW: The female body is a central part of my work, and I strive to show the world its beauty in all shapes, skin tones, and emotions. My work celebrates a woman's different facets: their power, their fragility, their beauty, their sensuality, their sadness, or their witty nature.

As a woman, I’m able to express my own feelings on canvas. I think that’s why it comes naturally to me.

JW: I call these women "the facets," and it’s a style that repeats itself in my work. These women are typically depicted with a light skin tone and a dark skin tone, and the skin tones can range from white to black and all the colours in between. This style is meant to represent that you are the same person no matter the colour of your skin. It also represents the diversity, strength, and, most importantly, unity of women. In this edition, I decided to expand this two-toned stylistic element to the towels.

The ROOFTOP TANNING IN THE CITY painting depicts four women lying on towels, with one towel sitting empty. I enjoy leaving my artwork open to interpretation and letting viewers create their own story of the scenario. Why are the women not communicating? Why is one towel empty? Why is there the tail of an animal on the fifth towel? Is it a cat or a tiger? Everyone can search for their own answers. Of course, for me, this was inspired by some of my recent experiences in New York City, where there is a strong balance of independence and togetherness. People are simultaneously in their own peace of mind, but they are still hanging out together because they have each other.

JW: Yes, of course I’m a feminist. I’m a strong supporter of equal rights for women, and I hope my work empowers and inspires women to be bold and to express themselves. The world will be a better place with more women in positions of power.

JW: I see the Internet as a platform to show your work and be discovered. If you have something to say, you can put it out there and develop a community around those thoughts and ideas. I started my Instagram account in 2013, and it organically gained attention. I’m grateful for this because it’s provided me the opportunity to be seen, to inspire people, and to distribute my work. That being said, as these platforms have gained popularity over time, I’ve noticed that they've become more superficial. Popularity is often based on how many followers you have or, for a woman, how sexual you are versus the content or merit of your work. This can be toxic. Personally, I try to limit my time on these platforms and use them as a tool to tell my story and be inspired rather than consumed. When it comes to interacting, I always prefer real life!

JW: Yes, social media does lead to more job opportunities. However, you still need to have strong skills and an impactful massage. You also need to be intelligent about how you choose your collaborations and ensure they align with your brand.

JW: In thinking about my path, everything came naturally, so my biggest advice to young artists is to let your intuition and your passion guide you. Explore what interests you and be open to trying new things, to change, and to letting go. Exploration and hard work will lead you to find your calling and achieve your goals. It’s the path that will be rewarding, not the fame.
Art, like any profession, is blood, sweat, and tears, but if the heart is in it, then it’s extremely fulfilling. Ultimately, when it’s just you and your artwork, you know you’ve found your purpose.