ADDRESS: 29 CONCANON ROAD
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.
ONE MAN EXHIBITIONS
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)
PREVIOUS ESSAYS INCLUDE
“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
ART to SCIENCE / SCIENCE to ART : Hotshoe 1999
INNER VISIONS : New Scientist 1998
“40 ART-SCI”: The Wellcome Trust 1997
SEARCHING FOR MEMORY : Basic Books America 1996
Daniel L Schacter
‘THE CRITICS CHOICE’ : New British Art Christies 1993
ARTICLE OF FAITH : Art Review 1993/97
ART AND MIND: British Medical Journal 1993
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.