James Connelly (b. 1978, Doncaster, UK)

Artist Statement - James Connelly

My creative process unfolds inconspicuously in various situations—whether during commutes, at work, or while spending time with family and friends. I often sketch not only passersby but also the people I interact with regularly, capturing their facial expressions, postures, and the everyday objects around them. This practice trains my muscle memory and enriches my visual vocabulary, building a reservoir of images in my long-term memory that fuel my painting practice. While my sketches are rooted in reality, my paintings are born from the realm of imagination, as the forms and figures on my canvas emerge from these visual memories stored deep in my subconscious. They reveal themselves spontaneously, as my brush moves without preconceived notions of the final image.

Painting, for me, is a dynamic act of evolution and transformation—a dialogue between creation and erasure where the imagery constantly shifts. The process begins with random mark-making; these initial gestures on the canvas are free from intent, allowing the composition to construct itself naturally. As the painting develops, it undergoes numerous changes—painted over, wiped away, and glazed. Sometimes I even turn the canvas upside down before continuing. This cycle of alteration is both physical and deeply emotional, as I wrestle with the canvas until the forms begin to take on a life of their own.

In moments where nothing seems to work, I introduce homogenizing glazes that obscure previous layers, leaving faint traces of the work underneath. This serves as a fresh start—not a clear canvas, but one with subtle remnants that allow new forms to emerge more easily. This new layer is manipulated further until it intensifies into something deeply emotional and viscerally compelling. My goal is to draw viewers in with an emotional intensity reminiscent of Rembrandt’s portraits, which capture shared humanity and raw depth.

In my latest series, I explore anthropomorphic portrayals of emotions through animals, giving them human-like expressions that reflect our own emotional states. This interplay between the familiar and the strange invites viewers to see reflections of their own inner lives in these distorted yet recognizable faces.

My work is influenced by a broad spectrum—from the Baroque mastery of Rembrandt to the Romantic energy of Delacroix, the structured dynamism of Tiepolo, and the raw expressionism of modernists like Francis Bacon and Philip Guston. Leonora Carrington’s ability to blend dreamscapes with reality also deeply inspires me.

Through my paintings, I challenge the boundaries between the real and the imagined, the observer and the observed. I invite viewers to engage in a dialogue that transcends the canvas, urging deep exploration of human experience and perception. Each piece is a journey through layers of reality and imagination, where each brushstroke carries the potential to reveal new meanings and evoke fresh emotions.