Deborah Jones is a British contemporary artist whose richly detailed paintings bring together her background in printed textiles and design with a deep fascination for nature, wildlife and colour. Working across acrylic, oil, spray paint and 24ct gold leaf, she creates carefully constructed compositions in which flora and fauna are reimagined through a distinctive contemporary and surreal visual language.
A graduate of Central Saint Martins, where she specialised in Printed Textiles, Jones brings subtle elements of design into her paintings, combining precise, intricate detail with bold areas of colour, pattern and decorative surface. Her approach is informed by both her formal design training and an enduring desire to paint, with composition, placement and colour playing a central role throughout her practice.
Her collections draw particular inspiration from her travels along the tropical coast of Brazil and from the English countryside surrounding her home near Epping Forest. Jaguars, birds, koi, botanical forms and hidden woodland ponds recur throughout her work, becoming vehicles for memories of place, travel and personal experience.
Jones skilfully deconstructs and reconstructs elements of flora and fauna, creating stylised interpretations rather than literal representations of the natural world. Through this process, she brings together the tropical and the familiar, inviting viewers into imagined environments that balance precision, atmosphere and a sense of the surreal.
Are you self-taught, or did you undertake formal artistic training?
I achieved a BA (Hons), specialising in Printed Textiles at Central Saint Martins. My passion has always been to paint, but at the time of choosing my course, I thought I would have more opportunities in the textile industry.
My career path took me to Osborne & Little, where I worked as the Director of Design’s assistant. Although this was a creative role, it still didn’t fulfil my passion for being an artist. Now, looking back, I realise that the course I took at Saint Martins has complemented my paintings, and the design element within my artwork stems from there.
How would you define your visual language or conceptual approach?
I like to embrace a contemporary style. My wildlife paintings are painted in a precise, surreal manner. I like to deconstruct and reconstruct flora and fauna, offering a fresh perspective on the essence of nature through my art.
Can you describe your creative process from conception to completion?
Colour is key to my artwork. The influence of colour often leads me to conceptualise an idea. I take great care in planning a painting; I never jump straight in.
I often draw and cut stencils of the wildlife or botanical elements I would like to paint, then spend a day or two working on scale and placement before I begin painting. I always create the background first, whether it is a block colour in acrylic, an ombré oil background or 24ct gold leaf.
I then start to paint the wildlife or botanical work. When everything is in place, I bring the whole painting together as one.
Does narrative, symbolism, or storytelling play a role within your work?
Every one of my paintings tells a story. They are all inspired by places that I have visited. I travelled around the coast of Brazil for three months, which was the most amazing experience, and many of my paintings are named after the remote places I visited.
I camped in the Pantanal for three days; it was exhilarating yet frightening. My jaguar paintings reflect the time I spent there. My imagination also plays a huge part in my creativity, but many of the ideas stem from those experiences.
I also live next to Epping Forest. There is a particular place where we go fishing that has a beautiful carp pond. I have spent many days there creating cherished memories while fishing with my son. My Exteriority Collection is inspired by the koi and by the calmness and peacefulness I find in the forest.
Which artists have most influenced you historically or contemporarily, and why?
I love the paintings of Gustav Klimt. I was lucky enough to visit the Belvedere in Vienna to see his work. I am totally in awe of his works on gold and the discreet shapes and elements he uses to create his figures.
I also love the work of Henri Rousseau. His surreal wildlife paintings resonate with me, and I have visited the National Gallery many times to see his work. Every time I visit, I see something new in his paintings that I never noticed before. A ‘Surprise’!
I feel my paintings are not exact replicas of jaguars or birds; they are stylised creations made from shapes and blocks of colour. I think that is why I am drawn to these two historical artists.
What personal, cultural, or environmental influences shape your practice?
I love where I live. It is thirty minutes from central London, yet I am within walking distance of Epping Forest. I feel I have the best of both worlds on my doorstep, and the forest is most definitely my sanctuary, where I play music, walk my dog and become inspired to paint.
I name some of my paintings after the hidden ponds tucked away within the forest. One particular painting, The Lost Pond, was a painting that I cherished and was featured and sold through Saatchi Art.
The Lost Pond has a story associated with it about a love-struck couple who took their own lives by drowning in the pond because their love was forbidden. It really is a beautiful place, and I spend a lot of time there. The feelings and emotions I experience there inspire my work.
Where is your studio based, and how does the space inform your creativity?
My studio is in my home in Loughton, Essex. It is a good-sized space with a 12ft art table and a computer. I feel I spend equal amounts of time painting and editing, applying for opportunities, uploading art and working on my website.
When I’m working on large paintings, I often work on my dining table. It is long, and I have much better light coming in from all directions, so I can continue painting into the evening, as I often do.
Do you have any rituals or rhythms that anchor your studio practice?
I am a mother of three, although they are now young adults. I have the school run first, then a forest walk with my dog, selecting music for my posts along the way and getting inspired for the day. I’m then ready to start painting or head to the galleries I work with.
Before I start a new painting, I will normally spend a couple of days planning first, which is an important part of my creative process. I enjoy working for myself because I can pick things up and put them aside when I need to. When I’m on a deadline, I will work into the night and throughout the weekends to get the work finished.
What bodies of work or projects are you currently developing?
I’m very excited to have been selected as a finalist for the David Shepherd Wildlife Foundation’s Wildlife Artist of the Year 2026 at The Mall Galleries in September. The finalists have been asked to create some ‘Mini Masters’ to be sold during the exhibition, with funds going towards the wildlife foundation.
I have many new ideas going forward for paintings. I’m going to push new ideas involving Brazilian landscapes and large canvases. I am also getting a yearning to return to painting my koi, as I have been working predominantly on my jaguar series so far this year.
Where can collectors encounter or acquire your work?
I have my own website, www.artbydeborahjones.com, which I use as a central hub before any work goes to galleries, so that I have everything stored and recorded on my site.
The galleries I work with include The Hyde Gallery, The London Art Exchange and Knightsbridge Fine Art. I also sell my work online through Saatchi Art, SOTA Marketplace, DegreeArt and Artfinder.
I also exhibit with The Affordable Art Fair, The Other Art Fair and The London Art Fair.
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