James’ Place Art seeks to complement the underlying mission of James’ Place - to provide an atmosphere that is calm and therapeutic and which provides crucial support in a non-clinical environment.
We are working with young artists to source pieces that sit within this context and that we can display within the therapy rooms and communal spaces at James’ Place. This art will help contribute to the therapeutic environment and we hope that the flow of art through our door will help reflect the positive change that can be nurtured there. Additionally, we hope that being shown at James’ Place will benefit the artists and encourage their practise.
We are selling the art to help fund James’ Place. Each artist is donating a portion of their sale in order to support us.
We are really delighted to welcome our first James’ Place Artists and are so grateful for their enthusiasm and support. There are details below about the pieces we are selling along with information about each artist.
We are also selling packs of postcards with images of the art in aid of James’ Place. A selection pack of 5 beautifully produced cards (with envelopes) is £7.50. See Shop. To make an order please contact Alex Abberton (art co-ordinator) at the email below.
If you have any queries about a buying a piece, or any other James’ Place Art related question please contact
Art can be both an incredible comfort and a great inspiration. Our hope is that James’ Place Art can be both to all those who use our service and those connected with it.
‘Art is the highest form of hope’
Ceramic, metal and wood £150
Kindly donated by Peter Woods
My work is heavily inspired by the Scottish coast, a place of happiness and comfort for me. Focusing on form, I endeavoured to capture the feel of the Scottish coast in decorative pieces for the home. I developed processes which are unpredictable, resulting in organic forms. I then combined this with watercolour techniques for painterly surface pattern. Producing these forms in ceramic, I have been able to echo the spontaneous yet solid feel of the coastal landscape; sharing a moment of reflection on ancient geology and power of the ocean that forges the beauty of the coast.
Out of the storm
Oil on wood panel
The shoreline, where land meets sea, is where it always starts.
This is the place I feel most alive.
Here I can see clearly.
My Cotswold studio is almost as far from the sea as it's possible to be in England, but the coastline is always in my mind as I work.
I like to work with found materials such as sailcloth and marine ply, flotsam and paper. Layering paint with collage and words, I use universal forms as metaphors to explore themes of family, relationships and life. It’s a meditative process, wholly absorbing as I seek a balance between spontaneity and resolution in each piece.
Constantly experimenting, I play with scale and seek ways to capture the weather-beaten surface of tide-worn pebbles and abraded wooden boat hulls. The apparently simple abstractions belie weeks or months of re-worked hidden layers, partially revealed text and collaged materials, textures created by adding and removing as the painting gradually takes on a life of its own.
This piece represents a period of calm after turbulence. There are several paintings hidden behind the textured, weathered surface.
Up close there are partially visible remnants of poetry scratched into layers of paint.
Three vessel forms (boats) can be seen behind a cross which could relate to a nautical flag, or a bird’s eye view of channels through a dockland area; a place of safe haven and belonging.
The result is intentionally ambiguous, for the viewer to interpret and appreciate in their own way.
Louise Condon Designs
Stoneware mini bud vases
£60 for collection of three
8.5cm, 9cm and 9.5cm in height.
Acrylic on canvas
90cm x 122cm
Emerging is from a new and recent theme of works that draws inspiration from compositional studies of the epic biblical paintings by John Martin, atmospheric sci-fi film noir cinematography, emotional responses to musical compositions and most importantly, the process of and responses within the act of applying paint. Other works from this theme can currently be viewed on the home page at www.jasonjonesart.uk.
After graduating in 1998 Jason undertook a seven year period of romantic, gestural, atmospheric and introspective analysis of paint as a medium, producing a vigorous and rapid succession of themed portfolios of work, all underpinned by sub-contexts of the chaotic, harmony and contrast. A selection from these portfolios can be viewed at www.jasonjonesart.uk within the archive pages.
2004 then saw Jason apply his developed knowledge and technique of applying paint to the contemporary male figure, titled Self-Observed, culminating in the inclusion of an international publication, the first of its kind, titled 100 artists of the Male Figure in 2010.
Jason has exhibited both nationally and internationally and his most recent solo exhibition at The Corke Gallery, Liverpool in December 2018 was the springboard for an internationally published article titled Mind the Gap in the Winter issue 2018 of Arts & Museums Magazine, highlighting his re-emergence to the art scene. This article can be viewed here.
My hair is pink, so what? £2500
Oil, spray paint and pastel on canvas
100cm x 110cm
‘My work is about people. Exploring their vulnerability, capturing an honest and exposed resemblance, creating a vivid and forceful image. My portraits are not about the face alone, they portray and question the emotions and experiences behind it.
I make decisions about my work based upon how I am feeling. I know a piece has been successful when it has challenged and confronted me; it comes together as a whole and is energetic and commanding. I choose to use oil paint; it is malleable, thick and creates an incredible texture. Using a pallet knife alongside this means that I can drag the paint and also become less precious about my work, as it forces me to make mistakes.
Emotions, experiences and struggle. My aim is to convey these feelings via contemporary art, creating dynamic, vivid images. My love for texture, method and material helps me capture these emotions. I am passionate about using my art to celebrate unique and interesting people. Highlighting and embracing those who may normally be overlooked or criticised for being different. We live in a society where the abnormal is laughed at and my aim is to alter these outdated views. Art can be the most innovative and compelling form of providing change within our society.
I challenge the viewer, encouraging them to look deeper into the painting than just the portrait itself, to raise internal issues and try to comprehend them’
'Three colour plate' Price £48
Handmade stoneware plate with layered glazes
Stamped on the reverse with artist’s makers mark
Can be used or displayed on a wall
Diameter - 25cm
'Wherever I wander...' Price £280
Triptych - (white frame with low reflective glass)
Limited edition Giclée prints on Bamboo paper
Image size 8 x 8 inches | Paper size 10 x 10 inches. White frame. Total size 96cm x 44.5cm
Single prints also available.
Lucia Fraser is a multidisciplinary artist specialising in painting and ceramics. Finding inspiration from the natural world she creates work that is gestural and expressive with a distinct colour palette. She paints from memory allowing a freedom of form that often journeys into abstraction. Layers of ink and acrylic are built up and then later removed giving her paintings an ethereal, dreamlike quality.
Lucia’s ceramic practice has evolved from a desire to create usable works of art. She uses traditional hand building techniques to create functional pieces in stoneware. Her recognisable mark making transfers from canvas to ceramic in a fluid, painterly style.
Originating from the north-west Lucia attended Bishop Heber High School before obtaining a BA (Hons) degree in Fine Art at the University of Newcastle-upon-Tyne in 2005. She has since exhibited her work in galleries across the UK with solo shows in Liverpool and London. She is now based in London where she works from her studio in the Lee Valley.
The White Cliffs of Dover £2750
Oil on canvas
180cm x 120cm
‘Aubrey Higgin is a British artist whose paintings capture movement and energy using vivid colours to portray positivity and vitality. He works in a heavy impasto style using oils in a contemporary way, but in keeping with the archival methods of past masters. His paintings have been exhibited in The Dorchester Hotel, London and sold all over the world, in places such as Geneva, Santa Monica, Gothenburg, Dubai and Rome. He has recently had work collected by a Californian billionaire who works in the film industry.
Aubrey Higgin has a great interest in the impact that art can have on well being through shapes and colour. His works capture energy by his use of movement and the texture that he applies. This texture and the way he layers and removes paint through scraping, scratching and building up the surface gives the paintings a rich quality that allows the viewer to continuously see new things. He captures a relaxing sublime tranquillity within the chaos that represents what nature is. He breaks up the fine details with positive expressive strokes, yet finds a calming influence to the work that evokes peacefulness. This calming and vibrant influence is very important in his work. His use of vivid colours helps to portray positivity and vitality.
He is very honoured to be exhibiting at James’ Place as he feels it is a charity close to his heart. Art helped him in a period when he battled an undiagnosed illness for two years. He used the paintings, the process and method, as a way to bring out hope and a positive spirit and to help him understand the unknown. He hopes that he can help others, through his art, to find positivity and light when they are suffering from illness or some other trauma in their lives.’
Pink Forest Price £1700
Oil on canvas
118cm x 118cm
‘Art is the expression of the spirit’
‘My art is an exploration into painterly languages that explore the fertile ground between landscape and abstraction, dealing with the natural world in a metaphysical contact, but with a high degree of intention and individual creative freedom.
Contextually, I see my painting fitting within the painting movements of the 50’s and 60’s, Neo romanticism and Abstracted landscape painting. From pre abstract Mondrian to Raoul de Keiser.
Originally a musician, I find solace in sound. However, when a sound isn’t enough to express myself, painting takes over, and renders an equivalent visual language. I see it as an act of translation, and, to be able to create a visual note or a visual poetry has played a vital role in my work. In order to do this, I use a simplified more, minimalist imagery, which is, in turn symbolic.
Through engagement with the process, my paintings are at root: a fusion of my imagination, memory of direct experience, a sense of place, aesthetic ideas around Hegel and the connection to my inner spirit though materiality of the paint.’
Out on a Limb £2300
Graphite pencil on paper, framed
90cm x 71cm
‘From a young age, all I have ever wanted to be was an artist. I’ve never much understood the education system, and at the back of the classroom, you’d find me sketching the latest idea. I enjoyed the simplicity of the medium, as you can always have on hand a pencil and pad.
It wasn’t until I met my partner, Helen, that I believed I could use this ability to draw and create a business and she helped me to get my first commission. I became passionate about capturing as much detail as possible with my pencil work and it married up well with my love for wildlife.
Today I am still trying new techniques and working hard to improve.’
One Skip and a Jump £450
Photograph, framed, printed on Baryta Hahnemuhle Paper.
56.5cm x 64cm
William Waterworth was born in Macclesfield, Cheshire in 1996. His family moved regularly at the start of his life before finally settling in Shropshire, a place he believes is the core inspiration for the majority of his work thus far, After finishing school he left for London and begun interning at his brother's interior design Office in Shoreditch, but found he didn't particularly enjoy the swing so fled to sail around the islands of the Caribbean and later India where his interest in photography started to boil. On his return from India he found out he had been offered a place at the University of Manchester to read History of Art. Although the photographer barely lasted a term, he describes one of the courses as being the catalyst to taking up photography - "We were studying Sally Mann, I can't remember why, but we were! I found her images had a profound effect on me. It was only a couple weeks after that that I left the university and was on the train home to Shropshire."
Once in London he began assisting set designer Matthew Duguid on big editorials for Harper's Bazaar which gave him a better insight into the bigger picture and life on set. In between work he would photograph his friends in the sitting room of his flat in Battersea with all but a south facing window and a dodgy Canon camera.
Just as he was leaving to walk the west coast of Italy, he decided he needed to study photography but the idea of three years made him shiver. Prior to the walk he researched one year courses and found the perfect solution in Paris. A thirty two week intensive course that started in the coming September. It was only on his return from Italy that his parents told him it was all go, and the voyage over the channel was made. In Paris he found an old friend which hung around his neck for the year. He discovered the work of JeanLoup Sieff and roamed the streets still somewhat naive about the medium, fascinated with the light Paris gave him. " In Paris the light was different, it was a blue harsh light that seemed to bounce off the architecture whilst at home in Shropshire the light was softer and somewhat more white. Paris gave him the technical platform that was needed to making the next step forward. As his time in Paris was coming to an end he yearned to return home and begin a new chapter. Touching down on English soil "The Rolling English Road" commenced and he used his friends as subjects in hope to develop a very intimate first solo exhibition. The work made for the exhibition was purely a release from what he felt had been a restrictive time creatively in Paris.
Liverpool Cathedral £250
Linocut on paper
40cm x 40cm (with frame)
Dan Howden is a Manchester-based printmaker/illustrator specialising in reduction linocut.
He studied Visual Communication at both BA and MA level in Liverpool and Manchester respectively, establishing, developing and testing his layer-orientated approach to linocut.
Recipient of the Anthony Dawson Young Printmaker of The Year Award 2016
Oil on board
44cm x 36cm (with frame)
My style recognises the work of Modern British artists such as Mary Potter, Winifred Nicholson and Mary Fedden. I am also influenced by the artists that I worked with whilst organising exhibitions at the Thackeray Gallery in London before moving to Wales in 1996.
I paint pots, jugs and bowls, flowers and fruit and arrange simple compositions that are both soft and strong to the eye. Still life gives me an opportunity to depict my experience and feelings in a spontaneous way and choosing a palette to bring pattern and deversity to my paintings through colour and texture. My landscape paintings are inspired by the countryside surrounding my home in North Wales – the rolling hills, hedgerows and seasonal changes.
I continue to find inspiration in the natural world and strive, with careful selection of objects and motifs, to create paintings that will hopefully bring pleasure to the observer.
Dark red fused glass bowl made from hand cut strips
28cm x 4cm
Britta Kuhnen is a trained art historian, former computer games producer and now glass artist based in Liverpool. She specialises in kiln formed glass items ranging from functional and jewellery to art.
Britta uses art glass, recycled picture frame glass and bottle glass to convey a minimalist aesthetic, and is influenced by the urban environment. She uses clear glass to let the beautiful material speak for itself, and if colour is added works with strong primary shades. Every design is carefully considered, hand cut, hand coloured and after firing also hand finished.
Britta’s fascination started as a collector of glass items, drawn to the way glass changes what is around it through its colours and refractions. Her interest was initially academic, she holds a first degree and MA in Art History and Theory, with a particular interest in architecture and architectural glass. She then pursued a decade long career in the computer games industry and glass making became a hobby before she returned to university as a mature student and obtained a CertHE in Applied Arts, specialising in glass.
Britta is now a full time maker and also teaches a variety of fused glass lessons.
View from the boat, Greece. £390
Oil on Canvas
40cm x 50cm
Charley Jones is a painter from the midland UK currently based between Colombia and the UK.
Since becoming a father my work has taken on a whole new dimension as I have felt more in contact with humanity and see a new dimension to life that inspires my painting even more to express human freedom, emotion and nature, I like to reflect on current issues in society related with migration and conflict and see my paintings as a way to find joy and freedom.
I began painting in oils from the age of 8 and have since studied fine art at University level, and taken lengthy workshops in drawing . To date I have exhibited my work in London, San Francisco, Canada and Cali (Colombia).