Creating art in nature with Jelly Green

Jelly Green is a British – New Zealander painter based in Suffolk.  Jelly’s work is defined by her passion for the natural world, particularly the earth’s forests. She has spent extended periods working from the jungles and rainforests of the world which has inspired her work.  

We talk to Jelly about her experience of being mentored by another British artist Maggie Hambling since she was very young and how her practice is spurred on by the current climate crisis. 

Instagram handle: @jellygreenartist  

Jelly’s website: www.jelly-green.com 

Discover more about UAL Awarding Body qualifications.

Transcript

TIC Jelly Green edit 

[00:00:00] Matt M: Hello and welcome to the Teach Inspire Create Podcast. I'm your host, Matt Moseley, Chief Examiner for Art and Design at the UAL Awarding Body.  

[00:00:09] Each episode, I speak to artists and creative industry leaders about three main themes: teaching, inspiring and creating. 

[00:00:17]  We talk about their experience of teaching and being taught, who or what inspires them, and we explore how they foster creativity in their work with the hope of showing you that there are infinite ways to be creative in the arts. 

[00:00:31] Today my guest is Jelly Green. Jelly is a painter based in Suffolk, whose work is defined by her passion for the natural world and particularly the Earth's forests. I'm interested in talking to Jelly about her life as a professional painter, her relationship with her mentor, Maggie Hamling, and how her current work addresses the climate crisis. 

[00:00:54] There is a transcript available for this episode. Please click the link in the episode description so you can read as you listen.  

[00:01:02] Okay, here we go.  

[00:01:05] Matt M: Thank you very much for joining us today at London College of Fashion in High Holborn. 

[00:01:10] We're very excited to speak to you. 

[00:01:11] Jelly Green: Very excited to be here. 

[00:01:12] Matt M: Great. So we normally start with talking to our participants a little bit about their educational journey, have you had any really influential teachers or learning experiences that have helped to shape your journey to where you are today? 

[00:01:29] Jelly Green: I grew up in a really creative family. Both my parents worked in the arts and so they always really encouraged the arts. I was always drawing, always painting from a really young age and loved it. But it wasn't until I was maybe like year nine of high school and I met my teacher, Miss Nikki Sholl, and she was an amazing art teacher and she basically got me really excited about it as a subject. She would throw books of artists like Rothko that I'd never heard of on the table and you just look at these works that were introduced to me at a kind of young age, 

[00:02:00] When I was 15, I met Maggie Hamling and she invited me to join her class in London. She introduced me to oil paints and life drawing and I spent one day a week life drawing with her for about 14 years. 

[00:02:16] Matt M: She was the kind of beginning of your oil painting process. So what kind of work were you producing before that? 

[00:02:23] Jelly Green: So I was working mostly in acrylics and I do very representational stuff. My teacher Nikki, my high school teacher, she was great, she'd really challenge you to try new things.  

[00:02:34] And then when I joined Maggie's class, the idea of suddenly using oil paints for the first time was quite terrifying because you've got used to using one medium and you've got quite good at using, what you think is quite good, at using one medium. And then oil paints work in a completely different way to acrylic, so I was quite terrified. And I think it took me about a year or two in Maggie's class to paint anything that I thought was, that I'd keep. But then once, having used oil paints for a year or two, I could never go back to using acrylics. 

[00:03:05] I think that the colors are just so much more vibrant, the textures that you can get with oil paints are amazing. You can't get that kind of texture using acrylics. And also the fact that they don't dry. You know, like, if you are using acrylics the next day your painting's dry, I go back to a painting the next day after using oils and it's still wet, and so you can still move things, you can scrape things off and you can work on an oil painting for years and it can still be wet. 

[00:03:30] Matt M: So that suits your process, doesn't it? 

[00:03:32] Jelly Green: Absolutely. Sometimes you get lucky and, sometimes a painting happens very quickly and you can do a painting in a few minutes, you can do a painting in a day or a week and it can happen very quickly. Or, you can work on a painting for years. It doesn't mean that it's better or worse. I also quite like to have paintings in the studio for a while, so even if I think they're done, I don't like to necessarily let go of them straight away. I often put them facing the wall, and then I will look at them again in a couple of months time, or even six months time, and I'll think “oh, I thought that was good, but it's not that good”. 

[00:04:04] Or like, the other way around where you kind of think “oh, I just can't work out what to do with this painting. I'm gonna put it against the wall and I'm probably gonna paint over it. And then four months later you turn it back around and you're like, “do you know? That's not that bad”.  

[00:04:15] Matt M: Do you think it's important to have like lots of things happening at the same time? 

[00:04:20] Jelly Green: Yeah. I'm never working on just one painting. Never. Yeah. I've got lots, loads of things on the go. I also, I think leaving your studio and the place that you primarily work, it's really good to get out of it, you know? 

[00:04:32] And I spend at least a couple of days working outside, working from life and that could be just a life drawing class, but actually just working from life, painting the truth that's in front of you is really important to aid studio work, I believe. And also it's just, it's good to get out of your studio. You can spend 12 hours a day in there and be like, ah, the walls close on you a bit. 

[00:04:52] Matt M: What are the challenges about working outside? 

[00:04:54] Jelly Green: There’s loads. The wind, the rain, sunburn. Yeah. There's just how much you can carry. So I've got , my outside kit, I've actually got this pretty cool box that I found in a car boot sale when I was, just, before I started Maggie's class when I was 15. I bought it for a fiver. It's an old ammo box actually, and it fits all my old paints. And then I have, if I'm going drawing, I have a big tube that I put off with paper on my back. And, you basically have to minimalize your kit. And then the biggest canvas that you think you could do in a day. 

[00:05:25] But then you have to remember, if you do multiple works outside, you have to remember I've gotta get 'em back to my car. So sometimes I've walked like an hour and then I'm like, oh god,  I’ve got to like somehow stack them whilst carrying everything. 

[00:05:38] Matt M: So packed up like an art ninja kind of trekking through the, through the outdoors. 

[00:05:43] Jelly Green: But there's, by working outside, there's a, there's this like connection that you have with the landscape that you don't get if you're in the studio, cause a lot of my work is done, my kind of large forest escapes, are done from paintings that I have done directly outside. And the thing about working outside is that the wind does come into it and I think it aids the painting, although it can be really frustrating and sometimes the canvas flies over and hits the floor and gets leaves all over it, but that's kind of part of it. And the sounds of the birds and the warmth, the rain, it all adds to the experience. And I think that shows in a painting. 

[00:06:19] Matt M: Do you find you've got a kind of finite amount of time to do something. 

[00:06:24] Jelly Green: It's nice having that, you work faster because you have to work. The sun's gonna go down and you don't know if you know you're gonna have a different day, but also, the great thing about even if you've got like a fair day all day and the weather's not even changing that much, the light will change. You'll have like light moving on the leaves and so your painting changes with it. You can't just, because two hours ago “oh no, it was sunny, so it's got be sunny”. You just have to change it. It just has to keep moving. And so I think you, you get a movement in your work that you perhaps don't get in the studio. 

MUSIC 

[00:06:54] Matt M: do you have strategies or things that you do to help yourself do things that are difficult? 

[00:07:00] Jelly Green: I just throw myself into it, you know. I was terrified to join Maggie's class when I was 16, if I'm being honest. 

[00:07:07] So I met her when I was 15 and then she invited me to her class. And then she didn't tell me that I was gonna be the youngest in the class by a long, long way. Yeah. And I turned up, she wasn't there. I went into this room, everyone was like, why is there this kid in here? And I was, they were like, I think you must be in the wrong room. 

[00:07:26] And I was like, yeah, I think I must be, I'm looking for Maggie Hamling's class. And they were like, well, this is it. And also you know, I was terrified at the idea. I'd never done life drawing before. And so suddenly there's this like, beautiful model taking off their clothes and still Maggie's not there. And I'm like, “what am I doing here? She told me I should come”. It's one of the most scary things I'd ever done. And I'd never even been to London by myself, I was 16 and got the train up and, uh, I remember the first term coming home and crying on my mum. Mum, I’m too scared to do this. 

[00:08:01] Matt M: I’m not surprised, it must have felt entirely overwhelming. 

[00:08:02] Jelly Green: Yeah, but it turned out to be the best thing I ever did. I did nearly quit a few times in that first term. I was just like, this is too much for me. I'm like, the baby, Maggie called me child, she still calls me child. I was like, I really was like the baby of this class. But it taught me that yeah, from doing something really, really terrifying, something really great happened from it. And I'm now part of this like family that is this class.  

[00:08:25] Matt M: Do you learn something new every time you go, do you find now?  

[00:08:28] Jelly Green: I think it's that, I think it's just practice. I think like working from life, it's, you know, if you don't do it, it's probably a bit like exercise. If you exercise regularly, you’re fit, if you draw from life regularly, you keep your hand in and if you don't, you couldn't lose it really quickly.  

[00:08:42] But Maggie also said this great thing to me, so when I started every three weeks we have a crit so you put your work in front of the class and then the class talked about it and Maggie talked about it. And I was just like, I can't do that. I'm just so terrified. I'm like, my work's awful. 

[00:08:58] And she was just like, that's just vanity. Don't care what people think. It's about what you are doing. It's about you creating a piece of work that is the truth that you experience in that moment. And I was like, “oh, it’s vanity.” Okay.  And so you just have to not give a s***.  

[00:09:13] Matt M: Well, you're vulnerable though, aren't you?  

[00:09:14] Jelly Green: Absolutely. Oh my God. Like every time I have a show, it's funny. People say to me now, oh, you've had, those are private views, loads of exhibitions. You must be well rehearsed in this. And I'm just like, do you know what? I get more scared the more exhibitions I do. 

[00:09:29] It's just like you, it doesn't get any easier because it's a funny thing being an artist or a painter. Like I spend 12 hours a day alone painting whatever I wanna paint, kind of battling away with my old paints. And then suddenly, every year or every two years I have a big solo show and I have to show it to everyone, and everyone I know comes and it's just, it's terrifying. 

[00:09:53] It's really terrifying. 

[00:09:55] Matt M: Your process is quite interesting in that, isn't it? You don't like to work to deadlines do you? 

[00:09:59] Jelly Green: No. No. I like to create a body of work. And then when that body of work is ready to be shown, I'll work out what to do with it and where to show it. 

[00:10:08] Matt M: What sort of constitutes a body of work?  

[00:10:12] Jelly Green: That's a good question. 

[00:10:13] I'm actually now working on the same theme of the last show that I was working on. 

[00:10:17] Matt M: Yeah. Burn. 

[00:10:18] Jelly Green: Yeah, burn. It just like, it got to a stage where I was ready to show those paintings. And, you, the ones that I'm doing now, they're evolving, they're gonna be slightly different, it's just the same subject matter. But that body of work, it just suddenly felt like, that's time to show them. And they spent six months in storage. 

[00:10:34] Matt M: You're creating more paintings, are you then going back to the, do the other paintings then, the early paintings, change to then? 

[00:10:41] Jelly Green: Yeah. Yeah, sometimes they do. I had this painting, which, it was a giant, rainforest painting, and I had finished it, and then, I had it against the wall for six months and I turned it around and I just decided it can't be a rainforest painting, it has to be a fire painting. 

[00:10:56] And so literally it was a completely finished, massive painting that I'd spent a couple of years on. And then I just turned it into a fire painting. It became my first massive fire painting that I did. It was just like the longest painting I'd ever done because it was intended to be something, and then it became, evolved into something completely new from what I thought it was gonna be. 

MUSIC 

[00:11:16] Matt M: You are famous, well known for… You're well known for producing work about the environment, particularly about trees, forests, those sorts of landscapes. Has that always been the theme for your work or have you arrived at that? 

[00:11:30] Jelly Green: So, I'd moved from London to Brighton and I was working a lot on portraiture and worked from my imagination, which Maggie always encourages. It's really good to work from your imagination. But, after a while I found my work becoming a bit kind of stagnant and repetitive and I was feeling a bit uninspired. And around the same time, I read this amazing quote by Constable, which was, “still nature is the fountain's head, the source from whence all must originally spring. And should an artist continue his practice without referring to nature, he must soon form a manner”. And I was like, that's kind of what's been happening to my work. I decided, well, I need to change something. I need to go somewhere. I need to just go back to nature and work in nature and be immersed in nature. 

[00:12:18] And so I went online and I like, looked for the most kind of rural place in the world that I could find and I found this treehouse that I rented for like three months in the middle of the rainforest in Brazil, took myself there with all my paints and as much paper as I could carry. I had like these three massive tubes of paper and came home when I filled them. And then it kind of kick started this new body of work. I came home and, because I'd been living in this completely different landscape to what I had ever seen before, when I came home I then suddenly would be walking through familiar forests around Suffolk and I would be seeing them through a completely new pair of eyes. I was seeing the curls in the leaves and the twists in each branch like I hadn't noticed before. 

[00:13:01] And so became completely obsessed with forests and my original paintings were very much a celebration of them and trying to capture their beauty and the fact that they're these kind of massive living things. I then went to various other kind of countries rainforests. I went painting in New Zealand and Sri Lanka and eventually ended up in, uh, Borneo for a few months. 

[00:13:24] And I was on this boat trip up the Kinabatangan River and there was, it was like absolutely bursting with wildlife. There was proboscis monkeys, macaques, I saw a wild orangutan, and then I saw, you know, like a python killing a monkey. It was just, I was just like, oh my God, this is amazing. Look how like lush the rain forest is thinking it's all amazing. But one of the guys who lived there, I was talking to him and he said, it's not great that they're here, they're not supposed to be here by the water's edge. The fact that they're here is because they've been forced here, because there's literally the palm plantations start only a few meters after this, the rainforest along the riverbank. I then traveled from one side to the other of Borneo and realised that, you know, it takes, sometimes takes like seven hours to drive through a palm plantation until you get to forest again. And I came home and I was thinking, I can't keep working in the same way that I've been working because Maggie always told me you have to paint the truth. What we are doing to our forests is horrendous and I can't not address that. It's not what I feel anymore. Although I love these spaces. I spend all my time in these spaces. I paint outside all the time. It's not the reality. The reality is that they are burning. And so I think you have to paint what you feel. 

[00:14:40] Matt M: Your creativity and art is a mechanism by which people can communicate and raise awareness and, the recent exhibition, the burn exhibition that you had some of the proceeds from that you then used to… 

[00:14:52] Jelly Green: Yeah, so I've been doing that for a few years. I did that in my last show as well. What I was thinking is, one, I wanna raise awareness. And also, I guess the, the best thing is, is if you, if someone looks at one of your paintings and you've moved someone, to feel something, then that's the kind of, that's the best outcome, isn't it? Doesn't always happen. But also I was thinking, it'd be really nice if I could give something back. 

[00:15:16] And so I basically got in contact with this charity in Brazil and yeah gave 25% of that show to them and they spent that money on 52 acres of Virgin Rainforest. And then I was just like, that's actually quite a simple thing that I can do. 

[00:15:31] People think about, oh, this is all happening in Brazil, this is happening in Borneo, wildfires in California and everything, but, you know, HS2 is just destroying hundreds and thousands of trees. We have like, decimated our forests, England was covered in forests, and now it's not. 

[00:15:46] And so it's, it's really easy for us to say, oh, they shouldn't be cutting down the rainforest. They shouldn't be doing this. And it's like, well, we're, we're still doing it. 

[00:15:54] Matt M: Yeah it’s quite easy to point the finger overseas, isn't it? 

[00:15:56] Jelly Green: I still paint woodlands and I still spend a lot of time painting outside because I think it's good. It's like keeping your hand in with life drawing. And also I love it. Yeah. I love just sitting in a woodland for eight hours with my paints. But when I came back from Borneo and started painting fires, everything changed with the paintings. They, they turned from green to red and, they became, I say, I guess slightly more abstracted, they became, they're quite fierce. They're quite depressing. I hope beautiful in some way. The thing also about painting fires that has interested me is that so, whilst fires are consuming rain forests or consuming the forest in California, there's also, there's something incredibly beautiful about them whilst they're doing it. I mean, they're ferocious and terrifying, but also if you have six people sitting round a campfire, everyone's just staring at the fire. It's this quite hypnotic, mystical thing that people just stare at. And so it's quite a, it's an interesting thing to paint, I think. 

[00:16:56] Matt M: Yeah. Well it potentially suits your, you are quite a physical painter, aren't you?  

[00:17:00] Jelly Green: There's a lot more kind of throwing around paint in the studio. It's very messy. I'll start a fire painting and I, I don't know, I don't have any idea what it’s gonna look like. I don't, I don't like have a kind of, oh, this is gonna be a really orange one, it's gonna be like, I’m doing loads of flames. 

[00:17:13] Matt M: So they just evolved. They just grow. 

[00:17:15] Jelly Green: It's like it became something whilst I was painting it.  

[00:17:19] Matt M: That idea of making yourself uncomfortable and immersing yourself in the environment for that amount of time, was it difficult living there for three months? 

[00:17:27] Jelly Green: Yeah. When I got there, I just felt so naive. I, so I arrived, I was 22, I arrived in Brasilia. I, so naively didn't realise that no one speaks English at all. And, got in this car and I asked this guy to take me to this nearest town, and I didn't realise it was three and a half hours away. 

[00:17:46] All this was just really stupid on my part because I'd gone so far by myself. And then got into another car and they took me into the middle of the jungle and ended up in this place, which was like, it's very basic living. It's like, my toilet was a bucket and there was electricity occasionally when there's solar. And I was like, “whoa, what am I doing here? I'm quite scared, but there's nothing I can do about it now”. And it took me two or three weeks actually, to kind of have the confidence of, cause the jungle was so magnificent and knew I, I kind of didn't know how to approach it with, I did some little drawings here and there, but I was like, how do I, how do I do this? 

[00:18:24] Like, how do I paint this? But then after a few weeks I just got on with it and, started painting. But yeah, there are, there's a lot of hard things about living in the jungle.  

[00:18:33] Jelly Green: When I was there, this great thing that Maggie said came into my head. I was, because, the simple thing of creating depth in a painting when you've got jungle all around you, and when people are looking at this, how are they gonna experience what I'm experiencing by going into the picture? 

[00:18:47] And Maggie said this great thing, which, when she told me this, she was talking about the human form, like, when we're doing life drawing, but you can put it in any other situation that you're painting. She said, imagine yourself an ant crawling over the body to carve your way of the figure. And I was thinking, oh, look at this. And I could imagine myself as an ant crawling through the leaves, crawling over the branches. And it just helps you, like, create depth. I just, I suddenly just remembered that after a few weeks of being there, like actually that's really helpful. 

[00:19:15] Matt M: Young artists, designers, etc. coming out of education, having a mentor or mentoring is something which is an accessible way to gain some influence and some ideas about how to take next steps. How has mentoring helped you? 

[00:19:30] Jelly Green: It's helped me enormously. Maggie has done so much for me. When I joined her class, I kind of joined it thinking I'm gonna be learning about painting and I learned a lot about painting, which was what I was looking for. But what she also did was just, the simple things of setting up a show, and how to price your artwork. Like, how to create a private view card that looks serious, don't put three fonts in it, Jell, don't do this. Simplify it. Just like the simple things and the importance of building a mailing list. Anyone that has ever expressed interest in my work, I've kept their email address since I was 16 and that, I've got quite a big mailing list now, just because I've been really like, gotta save that, gotta save that, I'll invite them to my show, they might wanna come. And don't let that stuff go because people are, when they're interested, they are interested to come to your exhibitions. And the thing is, you have to get the people there. Whenever I've put on a show, it's not been through a gallery, it's been independent, so I will hire a gallery and I have done it myself. And the only way you can do that is by you physically inviting people to come.  

[00:20:33] My dream was always to be able to pay my rent off my work, right? That was like, imagine one day if I can sell enough paintings to pay my rent. And the reality is that you have to know about all that stuff. You have to know about pricing work. You have to know about how to get your work out there. She's helped me with all of that. 

[00:20:50] Matt M: Yeah because I think that's often an element which is difficult to teach or often just isn't taught within degree and sort of like traditional education learning environments. 

[00:20:59] Jelly Green: It's not, I didn't know, I didn't know if that's involved in like an art degree? 

[00:21:02] Matt M: I think there's an understanding that it's a requirement because obviously I think a lot of young people are coming out of education and they've got loads of ideas, got loads of energy. And then they hit that wall of how do I make a living out of this?  

[00:21:16] Jelly Green: It's really hard work to make a living out of it. And in the beginning I had three waitressing jobs and then, um, I got really lucky that a gallery kind of took me on and sold my work, but again, even I think it's really good to ask for advice. You know, so I had, I was really lucky at, when I was, um, 18, 19, I had this gallery. They were visiting Saxmundham, just on holiday, the guy who runs a gallery, and he saw one of my tiny paintings in a local framing shop. It was just for sale for like 40 quid. And he, uh, he called me up and said, oh, I'd really like to show some of your paintings in my gallery in Kensington. And I was like, okay. 

[00:21:49] Matt M: That's an unexpected phone call. 

[00:21:51] Jelly Green: Whoa. He said, can we have five big ones and kind of 10 little ones. And I was like, Yeah, I'll, yeah, I'll be in touch in a few months. And I went up to the gallery and, he was like, who are you? I don't think he expected an 18 year old girl to turn up, you know? And he said, how, how much are they? And I just said to him, I don't know what I'm doing. Like I'd really appreciate your advice on this. I don't know how to price this, this painting, and what do you think it should be? And, he put the price up way more than I ever would have and, uh, they all sold and I was like, oh, okay. And it's just because I just said, I don't know, you are the expert in this. 

[00:22:23] Matt M: That's so, it's so helpful, isn't it? Because I think one of the, one of the obstacles is that sort of embarrassment about asking questions. 

[00:22:30] Jelly Green: Yeah, ask an artist how they price their work. For me, I kind of had the, my pricing and, the thing about pricing is that you, once you go up, you can't come down. So if you suddenly come out and you're like, right, six grand for a painting of mine, and then the, like, you can't then say, oh, but now it's 300 quid. Yeah. Like it's, it is quite important to get the price right and then slowly, you can test the waters and put it by 10 percent.  

[00:22:51] Matt M: Incrementally. 

[00:22:53] Jelly Green: You know, and that's what, that's what I've done over the last 15 years. 

[00:22:56] Matt M: It's interesting, isn't it? Cause there's often a bit of a, a conflict, well, a perceived conflict between commerce and creativity isn't there? It's an unspoken sort of thing. 

[00:23:07] Jelly Green: I've got a kid and I was like, you have to, If I want to do it full time, I have to earn money from it. That's like really like, probably a terrible thing to say, but it's just. Otherwise I'm gonna have to have another job. And if I have another job, that I'm doing all the time, then that's time that I could spend painting. You know?  And one of the best ways of, I think, progressing in, in your work is by doing it as much as you possibly can, being in your studio as much as you possibly can, playing, making mistakes. If you can find a way to make an income out of that, then you have all the time in the world. 

[00:23:39] Matt M: So it's important for people to take stock of their requirements, their overheads, the you know, what they need to live, and price their work sort of accordingly so that, that it will sustain. 

[00:23:50] Jelly Green: Yeah. I mean, for me it was, it was like a progression, isn't it? I had, I had other jobs and then it got to a point where, you know, I could do it full time. To put on a show, it's really expensive. You have to think about insurance, you have to think about framing, you have to think about flyers, drink. Like it's, there's a lot that you have to think about. So Maggie just helped me kind of knowing all the things that I need to do and the things that are important. She was like, don't spend money on canapes. Don't, you know, she was like, but spend money on booze. Like, you get them as as drunk as you can, but don't let them eat any food. I was like, okay, okay. I did have someone once at a show come up to me like, um, a week later. I just know him. He was just like, I just wouldn't have bought a painting that big if, like I hadn't been as drunk as I was. And I was like… 

[00:24:36] Matt M: Yes! 

[00:24:40] Jelly Green: Yes! He was like, I love it. I love it, I just thought I was gonna get little one and then like, my mate like told me to go, go one up and I was like, that booze was worth it then. 

[00:24:48] Matt M: Yes, absolutely. 

MUSIC Creative provocation: 

[00:24:50] Matt M: So what we've asked every interviewee, is we ask them to set a little provocation for the listeners. So it can be a specific task you'd like them to do. Anything really, a conversation you'd like them to have. So have you got anything in mind? 

[00:25:01] Jelly Green: Yeah. It's quite a basic one. Basically, just Maggie told me to draw every single day when I started her class. I remember thinking, oh, I, I do draw. I draw all the time. And she said, no, you have to draw every single day. And so I remember doing that. I drew every single day and after about a year, I was just like, I now, I can't not draw every single day. And I think it's so important. Even, it doesn't matter what you are drawing, it doesn't matter if it's crap. It's just the act of like showing up to, you know, your sketchbook and just putting marks on the paper and it becomes something that you can't not do. If I haven't drawn or painted in a day, I would just like, oh my God, I need to do something. Just make sure you draw every single day. 

MUSIC 

[00:25:44] Matt M: Thank you for listening to this episode of the Teach, Inspire, Create Podcast.  

[00:25:49] A massive thank you to Jelly Green for her time today and her generosity in sharing with us insights into her painting practice. It's been amazing to understand how her influences and passions about the natural world have informed her art and how the importance of collaborative working relationships with mentors and other artists can support you in your creative career.  

[00:26:12] If you want to know more about Jelly and her work, you can follow her Instagram on @jellygreenartist or visit her website www.jelly-green.com. 

[00:26:24] You can find links to these in our episode description.  

[00:26:27] We hope you've enjoyed this episode. Please subscribe and why not share with a friend? Also, remember to rate and review us wherever you get your podcasts. It really helps us to understand what you think of the show. Thanks for listening and until next time, take care.