Philip Larkin famously loved jazz because it was an art form that needed little to no explanation in order to be enjoyable. Jordy’s work is like jazz: a chaotic, heady blend of motion and freedom delivered with knowing wit, humour and tradition. Most importantly, it’s totally attainable. His palette is instantly recognisable, the primary colours used within it are the first we learn as children and the subjects are things we know and love: people, plants spectacles and curly hair surrounded by shapes we associate with joy: swirls, loops, squiggles, corkscrews, sun.

Jordy has been churning out work at an impressive rate since 2006, but he actually began much earlier – drawing pictures for the girls in his class until the discovery of graffiti turned him into a part-time criminal and devout artist. Tired of making work that by default must be unsigned and anonymous, Jordy spent five years training at the Graphic Lyceum in Rotterdam and had a stint at The Royal Academy of Art in The Hague – a place renowned for its ability to nurture some of the world’s most fascinating, unique artists and designers. Bored with his artistic style, he famously held a funeral and memorial service for Superoboturbo; his alter ego in the back yard of the Royal Academy in order to be reborn creatively and start afresh. Nowadays, Jordy’s becoming one of the most in-demand artists working today.

Jordy’s commission list reads like a magazine section in a library, his client list like a Who’s Who? of popular and retail culture. People see his trademark colours and mark-making and feel the need to come back to him again, and again, and again, just to get a slice of his magic and insert it into their own venture. Why? Because he has a passion for the world, for silliness and light, for entry-level jubilation. He can wipe a paintbrush daubed in Cadmium red across anything and make it look alive, and beautiful. He’s like a curious machine that’s only just been invented, long may he create.

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