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It’s a narrative that pretty much any young artist would want: arrive at school, start making work, get noticed by an up-and-coming gallerist, have a roundly loved solo exhibition (or two), get glowing reviews from important art critics, sell a lot of art, buy a big studio and keep working. Jules’s arc from just another kid in Brooklyn making art to having important exhibitions worldwide is as sharp as it is unusual.
When asked what was important about his time at Hunter, he references lessons in theory, a couple of professors, but mostly refers to the community of friends he still has today.
The studio building was an oasis for me.” He was diligent and it paid off sooner than expected when Zach Feuer saw his work at Jules’s very first Hunter Open Studios.
It took another year before Feuer gave him his first show, but even that timeline was blistering compared to other students and most of the faculty.
He acknowledged that it’s a challenge and added, “one critic will think a work is your best and another will think it’s your worst.
At some point you have to remember that you have a vision and certain people believe in it, they’ve put their faith in you and you have to move forward.” Jules also began to see his work categorized very narrowly as primitivist-influenced political art.