Artist in Residence Jeremy Houghton uses the idea of ‘telling the unseen story’ to inform his considered approach to a number of high-profile commissions, which shift between the exceptional and the everyday, painting subjects ranging from Her Majesty The Queen to the excitement of high-end elite sport. The subjects that characterise these scenes are illuminated by his focus on the spaces in which bodies linger, shimmer, move and often take flight.

Over the last twenty years he has been invited to detail the life of a number of high-profile communities, from those at Windsor Castle and Highgrove to 2017’s Wimbledon championships, and the competitors at the 2012 Olympics and Paralympics. With each of these projects Houghton is interested in getting beyond public perception, documenting instead the everyday scenes that characterise events and places such as these below:

2018 Artist in Residence for the Centenary of the RAF
2017 Championship Artist at Wimbledon
2017 Artist in Residence for Sir Ben Ainslie Racing at the America’s Cup
2016 Official Artist for the James Hunt F1 40th Anniversary
2015 Artist in Residence at Goodwood for Lord March
2014 Artist in Residence at Windsor Castle for HM The Queen
2013 Artist in Residence at Highgrove for HRH The Prince of Wales
2013 Tour Artist for the Aston Martin Centenary Tour
2012 Official artist for the London 2012 Olympic Games
2011 Artist in Residence at Kamfer’s Dam (Flamingo Conservation)
2009 Artist in Residence at St James’s Palace for The Gentlemen at Arms

Although Houghton’s focus ranges quite widely, his technique remains a constant. Emphasis on painted shapes of light and space, contrasting against areas of bold colour, enables his subjects to glimmer in the liminal territory between figuration and abstraction. With extraneous detail removed, the paintings are hard to place, giving them an ahistorical quality that serves to underline their fluidity.

Houghton continually explores the potential of negative space to represent light, and often references ‘ma’, the concept in Japanese aesthetics that translates roughly as ‘gap’ or ‘pause’, and which in traditional practice helps balance the relationship between different areas of an image. This focus on the space between things lends his paintings, even when they are of something as solid as a horse or a racing boat, a surprising delicacy. Houghton holds his subjects on a very thin, almost invisible line between motion and the ability to transcend time.

  • 5651-Houghton-Visibly-Ruffled

    Visibly Ruffled

    by Jeremy Houghton

    P.O.A.
  • For Heaven’s Sake

    by Jeremy Houghton

    P.O.A.
    DIMENSIONS: (unframed) 31.5 x 31.5 ins/ 80.0 x 80.0 cms SIGNATURE: Signed, titled and dated 2017 verso. MEDIUM: Oil on canvas Jeremy has a real passion for birds – specifically, for depicting them in flight. This interest was ignited when he began watching the local flamingo population in Cape Town, where he spent a number of years running an art school after finishing his degree in law (something he says he hated and did because art wasn’t seen to offer “proper” prospects). Houghton’s images of migrating flocks are unexpectedly quiet pieces, with an even more marked deployment of empty space than the sports paintings. Houghton says that in essence all his paintings are an attempt to depict movement, and that blank space is crucial to this, given that by nature movement sits right at the edge of what it is possible to represent.
  • One for the Road

    by Jeremy Houghton

    P.O.A.
    Having grown up in the countryside, Houghton has a longstanding respect for and interest in nature. Time spent in Africa in his twenties ignited a particular interest in birds. In his studio work Houghton continues to explore the compositional possibilities created by flocks of nature’s most distinctive birds. DIMENSIONS: (unframed) 31.5 x 31.5 ins/ 80.0 x 80.0 cms SIGNATURE: Signed and titled verso MEDIUM: Oil on canvas
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