In Conversation with Painter Jay Harper

Painting predominantly in oil on wood, her work explores colour, shape and familiar forms through a quiet, instinctive approach – often adding and removing paint until a piece finds its natural stopping point.

Originally trained in Fashion Design at Falmouth University, Jay approaches her paintings much like a collection, with individual works forming part of a wider visual story.

With Jay’s Tall Blues (2026) currently in our care at the Christmas Steps showroom, we caught up with her for a quick chat about her practice, process, colour and the spaces we surround ourselves with.

You’ve spoken about being careful not to “paint past the feeling” of a work. How do you recognise that moment when a painting is finished — is it instinctive, or something you’ve learned to trust over time?

I have ruined a lot of paintings over the years by thinking they need something else added to them. I have therefore learnt to trust the way I paint instinctively. My work might appear ‘simple’, however I actually think ‘simple’ can be harder to achieve – there is no room for error. I’m now more assured that this is enough and nothing needs to be more than it instinctively is. I still find I have to continually remind myself of this.

Muted colour and shape feel very central to your work. Where does your sense of colour tend to come from?

I have never been a fan of bright colours really, it’s just not my thing. I love the pigments in oil paints, there’s a richness that comes through when mixing muted colours.

Your paintings often feature familiar things; jugs, flowers, fruit, tables. What interests you about the objects we choose to live with? 

I paint from my head mostly and these objects have become sort of ingrained in the way I work. I’m a big fan of shape and composition, and still life really allows you to play with these themes – the results can be never ending.

How has your design background affected the way you think about composition, proportion and how individual pieces sit alongside one another?

My BA Honours degree was in Fashion Design, I think this very much comes through when I am putting together painting collections. I used to love creating my sketchbooks and fashion illustrations when I was studying (I really didn’t like sewing). Just like designing a collection of clothes, I consider how things can feel different enough to one another, but still belong in the same family.

What is your starting point for a new collection? What sparks an idea: an intrigue with a palette, an object or theme, a feeling? Perhaps it’s different every time.

I really don’t plan anything. I have never even worked on paper to inform a painting. I allow everything to just come out and be whatever it ends up being in that moment. It can sometimes work out, and other times not. However the more I work, the more ideas usually pop up. It’s always about just doing the work and trusting it as much as possible. If something doesn’t work out, I try to see it as a stepping stone to the next thing.

Where should we point people to engage with your work in person? Do you have any shows coming up?

I do yes, I have some paintings in a group show for Partnership Editions this September. Georgia Spray the founder of Partnership Editions has been working on a book ‘How to Start an Art Collection’ for the past few years and the featured artists in the book are all a part of this show.

16 – 20th September 2026

Raleigh Chapel
138 Church Walk
London, N16 8QQ

I will also have some work in ‘Take a Seat’, a group exhibition that will be held at Robert Young’s antique store in London this October.

2 – 10th October 2026

Robert Young Antiques
London, SW11 3AG