MOBILE: 0791248485


Born:  London 25th June 1953
Battersea Grammar School 1964-1971
8 O levels   3 A levels

Distinction in Fine Art, BA.
(Painting & Printing)
Croydon College of Art 1971-1976
Head of Art: Eddy Wolfram.

Painting Lecturer: John Bellany
External Assessor: Gillian Ayres

The London Institute (London College of Printing)
Certificate in Digital Origination. 1997-1998
Diploma in Digital Media. 1999-2001
Head of Course: Les Claridge

Various private and corporate collections.
England, London, Wales, Germany, Spain, France, Italy, USA  (Harvard University),
India, (Bombay),  Rio de Janeiro, Brazil.


Paul McPherson Gallery: “Unfamiliar landscapes”  Greenwich, London May/June 2014

Red Gate Gallery:  “The Maps of Disease” Coldharber Lane  Brixton, London. Oct’ 2005

Station Gallery:  “Inner Landscape” London, 2004.

The Gallery : Great Ormond St, Hospital for Children. London, June 2001

School of Origional and African Studies. Queen Mary College, London, June
One Man Exhibition 2001

The Diorama Gallery:  “The Threshold” 1997

Bedford Hill Gallery :   “Realignment” 1993

St Thomas Hospital :   “Entrances” 1991

Bedford Hill Gallery :  “Entraces” 1989


The Ideal Homeless Show 2018

Mixed Exhibition, London 2018

London Group, Centenary,2016

The Saatchi Gallery: Group Show (Encephalitis) December 2016.

CamBRAIN NeuroArt Competition, 2016

Brixton East, Gallery: “Bad Behavier”2016

‘Untangling Mind & Brain’ Cambrigde, 2015

The Alburt.  Exhibitions. 2013/6

London Group, Centenary  2013

Morley Gallery  “Out of the Blue” 2013

V&A’s Digital Design “Artificial Intelligence” 2012

The Stableyard: Group Exhibitions. 2010-2012.

Edindorough Group 2010-2012.

tactileBOSCH: “an – Aesthetic” Cardiff, Wales. 2008
Art Hybrid, 2010.
(Funded by Wales Arts)

The Alburt Group, 2007-2008

Brighton Art Fair: Christmas 2005 Exhibition. December  2005.

“On the Wall” Olympia, London. Sept’/Oct’ 2004.

Parade Mews Studio : Group Exhibitions 1995-2004 Yearly .

Red Gate Gallery: Group Exhibition. 209a Coldharber Lane  Brixton, London. Febuary 2003  Group Exhibition (5 artists)

“The Atrium Gallery: “Invisible Body” 2000 (12 contemporary artists in partners with 12 medical  scientists).

Brixton Art Gallery :  “Objects of Time” 2000  (5 artists)

London College of Printing :  “ Other worlds into your world”  1998

Market Place Gallery : Summer Exhibition (Art Exposure)  1998

Islington & Highgate : Mixed Exhibition 1998

The Gallery “Layer of Abstraction” 1997

International Art Consultant Ltd : London Art House 1997

Christies Auction: The Critics Choice “ New British Art” 1993

Collier-Bristow Gallery : Exhibitions:
Summer Exhibition 1993
Christmas Exhibition 1993

Bedford Hill Gallery :  Exhibitions:
One Man Exhibitions (see above)
Group Exhibitions  1988-1993
Art in Prison: Tour 1992/3

Dagmar Gallery :”Two Men“ Exhibition 1992

Smiths Gallery : Contemporary Lithography  ( Exhibition 1992)

Eva Jekel Gallery “ Summer Exhibition” 1991 (Group Exhibition 1991)

Unit 14 Studio: Regular Exhibitions in Group Shows 1986-1989 (Funded by Lambeth Arts

Theatre: “Lermontov”  Design  Stage Set Production  (Touring 1988)

London Group : Royal College of Art 1985

Five Dials Gallery : Seven Artists 1985

Acme Gallery : Four Painters 1984

West Norwood Gallery :Three Painters 1984  (Funded by Lambeth Arts)

Brixton Co-operative Gallery : Regular Exhibitions Group Shows 1982-1984


“Drug Story”: T.V. Film. Directer: Tom Pollock.  Artwork: David Jane. May 2002

“Bug-Starl”. Film, Lunatic Vision. Artwork: David Jane. May 2002

Theatre: “Lermontov”  Design  Stage Set Production.


Main Interviews, Essays, Books
(not including various reviews, coverages etc)


“Bluesci” Cambridge Univercity. 2017

V&A: “Artificial Intelligence”
Digital Design. Alex Flowers

ART and  MEMORY :    2000
Dr Nicola Stanhope and Dr Michael D Kopelman

SUBJECTIVE / OBJECTIVE : Art News Magazine 2000
Rebecca Forley

ART to SCIENCE / SCIENCE to ART :  Hotshoe 1999
Chris Townsend

INNER VISIONS : New Scientist 1998
Simon Ings

“40 ART-SCI”: The Wellcome Trust 1997
Dr Kopelman

SEARCHING FOR MEMORY : Basic Books America 1996
Daniel L Schacter

‘THE CRITICS CHOICE’ : New British Art Christies 1993
Charles Hall

ARTICLE OF FAITH : Art Review 1993/97
Charles Hall

ART AND  MIND: British Medical Journal 1993
Charles Hall



David is a painter, sculptor and printmaker from London whose work has appeared in a number of galleries, including the Welcome Collection. After an experience of suffering encephalitis which caused a loss of memory and speech, he turned to the scans of his brain for inspiration and to understand how the incident could be communicated and understood.
The works submitted are purely digital in final form but started their life as paintings combining pigment with wax. David then photographs the paintings and works on them digitally, manipulating and layering the images until they become something new. These layered digital paintings create pictures inside pictures, refracting spaces and fading environments, mimicking memory and our imperfect recollections. Alex Flowers, Digital Programmes Manager, V&A

Recently, the work has begun to suggest another, more surprising journey; from the structures of the brain to the structures of the mind.  The more detailed his portraits become, the more apparently abstract they are.  It is as though, the deeper he goes, the closer he comes to painting, not things, but visual ideas. “We can meld science and art together,” says Jane.  “And we’ll do that not to obscure what’s going on, or prettify it, but to make it clear.  I want to open the doors of understanding into the scientific interpretation and artistic vision of brain scan images, so that people can see them as things of beauty as well as knowledge.” Simon Ings, New Scientist.

Jane’s work far exceeds these stated ambitions.  “When you look at David Jane’s work.” Says Denna Jones, curator at the London-based Wellcome Centre for Medical Science, “your reactions aren’t anything to do with the disease.  It’s not even to do with that interest in body-mapping you see so much of these days.  It’s simply a continuation of self-portraiture – part of a tradition five centuries old.”  If the 18th-century painter William Hogarth had had access to the technology Jane’s uses, “he’d probably have done the same thing,” says Denna Jones. Wellcome Centre

“It is possible to trace Jane’s developing attitude to his experience of the disease in his increasingly controlled and vivid handling of his material. One series presents sequences of imagers, homing in on particular structures of the brain: cells and nodes loom from the darkness like approaching headlights in some surreal storyboard.  But perhaps the most impressive works restore these medical records to their true, visceral charge.  The new, forceful draughtsmanship is reinforced by an inspired use of colour, breaking through those powdery surfaces.  To sya that the end result can sometimes recall the intensity of Sutherland or Bacon is to stray into a somewhat bloodless, theoretical world.  But it might be truer to the experience to say that sometimes one feels the artist has rubbed flesh directly into the surface of the canvas.  And that, despite this, the work remains both disciplined and beautiful.” Charles Hall, Art revive.

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