Kentucky-based artist Jeremy Booth captures the essence of the American West through his bold, minimalist style, focusing on the iconic imagery of cowboys and Western landscapes. His work, which blends contemporary design with the timeless grit of the Wild West, has gained acclaim at Christie’s and Sotheby’s and drawn in notable clients like Wrangler, Nike, Apple, Warby Parker, and British GQ.
In this interview, Jeremy shares insights into his creative journey—from early days in digital illustration to recent ventures in painting—and his mission to bridge the digital and traditional art worlds, all while preserving the authenticity of his subjects.
Brady Walker: Welcome to Makerspace Spotlights. I’m excited to have painter and digital artist Jeremy Booth with us. Jeremy, could you give a quick intro to your journey as an artist?
Jeremy Booth: Sure. I started with graphic design in high school, but everything shifted when I found Adobe Illustrator. It felt more natural, so I decided to stick with it. My work was experimental at first, but I knew I wanted to pursue commercial illustration and needed to find my voice.
Then I got sick and had my first grand mal seizure—a scary time with no clear answers from doctors. Art became my escape and helped me discover my place in the commercial illustration world, laying the foundation for where I am today.
After six months, I had brain surgery, and everything’s been good since. It’s been 13 or 14 years now. I built a portfolio, signed with agencies in France, North America, and the UK, and my commercial illustration career took off.
I worked freelance for big clients like Stella Artois, Apple, and British GQ. But in 2020, I wanted a change and joined Coinbase as a product illustrator. Around that time, I got interested in NFTs, minted my first piece on Foundation, and started transitioning to fine art, focusing on Western and physical art. That’s my journey in a nutshell.
Sons of the West (2024) by Jeremy Booth (night & day versions)
BW: Quite the journey—going through seizures and brain surgery and coming out more solidly yourself.
JB: Yeah, life feels much more precious after that. I see value in artwork in a way I never did before; it’s been foundational for my story.
BW: So, you were a commercial artist—when did you start painting? Had you always dabbled in it?
JB: I painted geometric shapes on canvas for a couple of months about seven years ago. It taught me some basics like crisp lines and color mixing, but I moved on from it then.
When I transitioned to digital fine art, I realized that stepping into the fine art world let me choose my own subject matter, so I started exploring Western art. Around that time, I met Robert Hagan, who’s been painting the West for over 40 years. We curated some of his work, and he eventually invited me to Kansas to experience and capture the Western lifestyle.
Hagan inspired me to try traditional painting. Coming from the digital world, I wanted to bridge into traditional art, and painting felt like the way to do that. I see it as going out as a kind of “missionary” from web3 into the traditional art world to fuse both. That’s my mission, and Hagan really sparked that desire. So, I tried it out, and here we are.
That happened in spring of ’23—that’s when I started painting.
BW: But you already had a strong sense of yourself as an artist and your style.
JB: Yeah, painting is tough. When people ask what’s harder—digital or physical—I say physical. I’ve done digital for so long that it’s second nature, but painting requires breath control for line work and color mixing to match my digital palettes. I can’t just select colors; I have to layer them to make them opaque. It’s challenging, and I’m still learning.
Lost in Moffat County by Jeremy Booth (night & day versions)
BW: Was the job with Coinbase serendipity, or were you already interested in blockchain and NFTs?
JB: I knew someone on the illustration team who mentioned they were looking for illustrators. I started as a contractor for three months, then went full-time for a year and a half until their first big layoff.
BW: In researching for this interview, I learned that some ranches host open photoshoots. How often do you go to those?
JB: It’s fairly common if you know where to look. Ranching is tough, and workshops provide extra income. I reach out to ranches, and they’re usually open to it. It’s a welcoming community.
This year, I went in spring with my wife, who’s a professional photographer. She helps a lot. I would’ve gone again in the fall, but I broke my foot, so she went alone. We go periodically for fresh imagery and inspiration. Being on their land, in that landscape, with those people—it’s amazing.
BW: That tees me up for my next question. Was there an early interaction that gave you a deeper connection to this world, beyond just aesthetics?
JB: Definitely, I’d say respect for the horses. I’ve learned that painting a horse accurately means avoiding awkward expressions or poses. For instance, if their ears are back, it can signal distress—something I avoid in my work. I aim to honor the horse as much as the cowboy.
Over the Ridge (2023) by Jeremy Booth
BW: When did you start to feel like an insider, if ever?
JB: I’m slowly getting there, but I still feel like an outsider. This culture has so many nuances, but everyone is incredibly welcoming and willing to teach. I’m constantly learning.
BW: Do you stay in touch with people you’ve met, like ranchers or cowboys?
JB: Yes, especially with the owners of Sombrero Ranches in Colorado. They host an annual event called the Great American Horse Drive, moving hundreds of horses. They even sent us jackets as a thank-you. My wife sent them a photo, and I’m sending a print. We still keep in touch.
BW: That’s amazing! I’d love to see you paint a drone shot of a big cattle drive.
JB: Oh yeah, that would be crazy.
Cowboy Luck (2024) by Jeremy Booth (night & day versions)
BW: When did this subject really come alive for you?
JB: When Robert Hagan invited me to a ranch in Kansas. Before that, I was using 3D models for reference, but Robert said, “Come with me, take real photos.” He’s a legend, so of course I went. Capturing those moments firsthand changed everything.
BW: What was the most intense or vivid moment from visiting the ranches?
JB: In Kansas, we were photographing near a ridge where they drove horses down into a pond. They told us to stand by a large tree so the horses would go around us if anything went off course. At one point, the horses split around me on both sides—it was wild! A similar, less intense moment happened at Sombrero Ranches with some Longhorn steers that veered a bit too close, but a cowboy got them back on track.
BW: What surprised you most about this culture as you’ve immersed yourself in it?
JB: Definitely the people—everyone’s so welcoming, kind, and interested in my work. It’s been refreshing to experience the kindness of Western folks.
Chaos Enters In (2024) by Jeremy Booth (night & day versions)
BW: What can you tell me about Chaos Enters In?
JB: That’s Ben, whom I photographed at Sombrero. He had a pistol, and I wanted to create some mystery. The background fire wasn’t real—it’s meant to feel chaotic and leave room for people to build their own narrative around him.
BW: Your pieces feel like lived-in stories, likely from your illustrator background. What place does femininity have in your work? These are all quite masculine pieces.
JB: There are some moments of femininity, like cowgirls, though it’s a masculine profession overall. We don’t often see many cowgirls at these locations, but my wife recently photographed some, and even a Black cowboy, which I’m excited to paint.
The hard-working spirit definitely comes through in the work. That’s the portrayal you get, male or female.
I’m excited about our reference material too—we photographed a cowboy named Jamon Turner from Louisiana, who teaches inner-city kids to ride and was a stuntman on 1923, a Yellowstone production.
BW: That’s cool. When painting, do you see your subjects as characters or icons?
JB: Always an icon first. A cowboy hat and a horse are iconic. But I also try to tell a larger story, which feels natural when you’re photographing them doing their normal work—it’s authentic in a way that 3D models can’t capture.
Pistolero’s Justice (2023) by Jeremy Booth
BW: I saw your work from before you focused on Western themes. What were some favorite themes back then?
JB: My subject matter changed, but I kept returning to mid-century style and lifestyle, with a James Bond vibe. I explored this in a print exhibition in Paris about eight years ago called The Simple Life.
From The Simple Life (2016) by Jeremy Booth
BW: How has your creative process evolved? Any helpful habits or routines?
JB: References have been key. I used to rely on online images and 3D models, but now I use photos I’ve taken myself. It’s made my art more tangible and connected to real experiences.
BW: It seems like your work has become much more tangible — photos of real people, paint on real canvas.
JB: Even my digital work starts in person with photos. Now, each piece has memories attached—people I know, places I’ve been. It’s not just creating and moving on; each piece holds an experience.
BW: How do you balance professional obligations versus making art?
JB: It’s about not overextending myself. With MakersPlace, I limit Twitter Spaces to the essentials because I’m also preparing for a solo exhibition in February. Having physical work helps me avoid distractions; I can’t be on my phone or computer while painting. Ideally, I’d have all meetings in one day and use the rest for creating. It’s all about scheduling and knowing when to say no.
Daring by Jeremy Booth
BW: Were you surprised by the amount of business obligations as you moved into being a full-time artist?
JB: Not really, since I was a commercial illustrator before. Being an artist and a businessman go hand in hand for me—I have to sustain my family. I have twins, a wife, and responsibilities, so it’s essential to balance both.
BW: And your wife helps with the business side?
JB: Yes, she’s a photographer specializing in spirits and hospitality. She helps keep me on schedule and manages social media by filming me for reels. Scheduling, social media, and photography—that’s her role.
BW: Do you have any ambitious, unrealized projects?
JB: Yes, but I can’t reveal them yet! I’d love to make figurine-type sculptures with a Western flair, inspired by artists like Fvckrender. But right now, my focus remains on painting. I’m still new to the traditional art world, so that’s ambitious for me.
I also have some ideas for digital work, and the dynamic artwork with you at MakersPlace feels right for my digital side. I’m focusing on keeping still imagery for painting and dynamic work for digital, honing that balance.
BW: That’s awesome. With all the options in digital, especially with Transient Labs’ work, plus new physical mediums, it sounds like you have endless possibilities.
JB: Yeah, shoutout to Transient Labs! Even my physical pieces over the past year have a digital footprint through trace chips. Digital is always the foundation of my work, even if it’s not the final output.
Restore (2024) by Jeremy Booth
BW: You’re a great example of a well-rounded digital artist, which I think requires some physical work too.
JB: Absolutely, and that connects to the business side. I don’t put all my eggs in one basket—there are different markets for prints, digital editions, and original paintings. I want people to enjoy my art in the format that resonates most with them.
BW: Last question—how are you on a horse?
JB: A little rusty. My dad had horses when I was in high school, and I rode a few times. Looking back, I wish I’d ridden more. I’d get on a horse now, especially a well-trained one, but it’s been a while.
