Original paintings · Los Angeles
Where the Silent Becomes Visible
One-of-one works in oil by Ida Jamts — painted in layers thick enough to hold a shadow.
Why collectors choose these works
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A work can be commissioned for one wall, one room, one feeling.
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Artist statement
The silent architecture of the subconscious
Translating the silent architecture of the subconscious onto canvas through raw texture, ancient memory, and sovereign inner light.
I paint the parts of the psyche that never learned to speak. The archetypes, the inherited memory, the deep strata beneath ordinary thought — what the subconscious builds while no one is watching. My subject is not an image of freedom but the moment freedom is recognised from the inside.
The work is oil, laid down in layers thick enough to hold a shadow. Impasto, built up and cut back, so the surface carries its own history. Colour is not decoration here; it is the psychological register the painting is held at, and I choose it the way one chooses a pitch to sing in.
What I want for the person standing in front of a canvas is simple: a room to be still in. A recognition, a loosening, and — if the painting has done its work — the sense of meeting something true that was already theirs.
“I do not want to explain my paintings. I want the one who looks to find a forgotten part of themselves in them.”
The artist
Ida Jamts
In the studio, Los Angeles
Ida Jamts is a visual artist, painter and poet living and working in Los Angeles, California. She paints the strata beneath ordinary thought — archetype, inherited memory, and the quiet architecture the subconscious builds while no one is watching.
Her route to the canvas was not a straight one. International management, law and psychology came first, and each of them left something behind: an eye for structure, a patience with slow processes, and a working knowledge of how the mind protects itself. The paintings carry all three. They are built rather than sketched — ground, cover, scrape back, cover again — until the surface holds its own history.
She works in oil, in impasto thick enough to throw a shadow, and treats colour as a psychological register rather than a decorative choice. Poetry runs alongside the painting; several works carry a text written before the first layer was laid down.
Her works are held in private collections, and selected pieces are released privately rather than through open exhibition.
“A painting is finished when it stops belonging to me.”
Commissions
A work made for one wall
A commission begins as a conversation about the room, the scale and what the painting is being asked to hold. Three steps, agreed in writing before anything is stretched.
The conversation
We talk about the space, the light it gets, the dimensions and the feeling you want the work to carry. You receive a written proposal with the size, the palette direction, the price and the timeline.
No chargeThe deposit
A non-refundable deposit of 50% reserves the studio time and covers the materials. Work begins that week. You receive progress photographs as the layers build.
50% to beginApproval and delivery
Most commissions take six to twelve weeks, depending on scale and the number of layers. When the painting is finished you see it in full before anything is settled. The remaining 50% is due on your approval, and the work is then crated and shipped tracked, with transit cover arranged and confirmed with you before dispatch.
6–12 weeksPrivate viewing, by appointment
Paintings this heavy in surface do not photograph completely — the impasto changes as you move past it. Private viewings are held in Los Angeles by appointment only. Write first; the address is sent once a time is agreed.
- Los Angeles — by appointment only
- Video viewings for international collectors
- Address shared once the time is confirmed
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New work is released privately before it appears anywhere else. Collectors on the list see each painting first, with dimensions, price and availability, and have first refusal for a week.
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Questions