This year, Jackson’s Art Prize received 12,964 submissions from 129 countries around the world. 932 made it to the longlist, and 115 went on to the shortlist. From these, 23 artworks were awarded prizes including this year’s First Prize winner, Eleanor Johnson. View the prize-winners below.
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Oil on canvas, 150 x 225 cm | 19.7 x 88.5 in
“Eleanor Johnson’s Slick with Olive Oil is a richly wrought painting on a grand scale. The complex, circular interaction of grappling wrestlers and dancers punctuated with hyacinth grape flowers is confidently expressed with skillfully handled oils that are as juicy and glistening as the title suggests.
This dizzying composition borrows from Peter Paul Rubens’ fleshy Baroque excesses to present a labyrinthine whirl of tumbling bodies, in a theatrical approach that explores themes such as aggression, sexuality, and play, and was the clear choice for this year’s overall winner.”
Jackson’s Judging Panel
Oil on canvas, 91.4 x 91.4 cm | 35.9 x 35.9 in
“Austin Hayman’s tender portrait painted in oils is highly moving, perfectly conveying the welling tears of its subject. Hayman’s skill lies in his lighter treatment of the background and sketchy outline of the man’s shirt that gives brief respite from that fleeting, tragic gaze.”
Jackson’s Judging Panel
Tempera on linen and paper, 71 x 51 cm | 27.9 x 20 in
“Jason Gregory has used egg tempera to produce a vibrant, lively landscape that has a frenetic but at the same time ancient quality. Combining plein air studies from various locations with spontaneous studio work, Painted with Flowers captures nature’s perennial motion and striving, and is executed with a wonderful lyricism.”
Jackson’s Judging Panel
Oil paint, oil sticks, oil pastels on paper, 50.8 x 50.8 cm | 20 x 20 in
“Glenn Hernandez describes his moody, smoke-filled painting as a pseudo self-portrait that explores the discord in his working life. Aberration indulges in rich colours and textures with a vital grittiness that hints at the work of Philip Guston, but achieves a language all of its own.”
Jackson’s Judging Panel
Oil on canvas, 170 x 115 cm | 66.9 x 45.2 in
“David Rae’s lucid oil painting Firestone 6 is detailed, sensitive, and measured. The luminous yellow glow that dominates this sublime work is tempered by the delicate treatment of the landscape and the curious structures on the horizon, creating a still, silent, almost eerie effect.”
Jackson’s Judging Panel
Oil sticks, acrylic on hessian, 102 x 76 cm | 40.1 x 29.9 in
“Richard Goold explores the human condition in his acrylic painting, My Father and Mr Cheese Planting Standard Roses, approaching his subject with spare, harmonious colour and a richly textured hessian ground. The ambiguity between the figures and the semi-abstract background gently transfixes the viewer in this seemingly mundane but intimate moment.”
Jackson’s Judging Panel
Oil on canvas, 90 x 80 cm | 35.4 x 31.4 in
“This was such a difficult decision especially when I narrowed my choice down to a final six. However I kept coming back to this beautiful and moving scene. The composition is pretty perfect and the colours are gorgeous, but what most strikes me is the quiet portrayal of real emotion – a rare thing in art.”
Anita Klein
Watercolour, monoprint on paper, 90 x 110 cm | 35.4 x 43.3 in
“I was immediately drawn to this work by Martha Zmpounou. It is many-layered and mysterious. The two central figures, a woman and child, appear to be it’s fairly straightforward subject matter, dressing up such a simple, domestic activity, but then we are taken past them to the background figures; children, but with a tense feel about them, their transparency giving them a ghostly quality, and the two staring out, directly at the viewer, have an almost accusatory gaze. These contradictions make me want to look more and that’s the quality of a brilliant image.”
Anne Rotheinstein
Oil on canvas, 30 x 30 cm | 11.8 x 11.8 in
“This feels like a painter’s painting. There’s a very pleasing, considered delicacy and fragility to the work befitting this little investigation into paint and perception. One might read the pine cone before seeing the title but it wouldn’t be an issue if you didn’t. The paint can work on its own terms. The flip-flop between image as description and image as pure invention is very beautifully balanced and it feels speculative and fragile rather than forced and contrived. This is at the core of how we all aspire to paint – without fully understanding what or why we’re doing, simply creating and observing what unfolds and surprises us.”
Andrew Torr
Oil on canvas, 121.9 x 91.4 cm | 47.9 x 35.9 in
“Out of the many worthy entries I viewed, Brianna Lois Parker’s painting The Art of Frying Plantain struck me with a sense of joy as it recontextualised the everyday. The joyous yet delicate act of frying plantain—a gesture so familiar to many—becomes a site of beauty, performance, and ritual. With grace, balance, and rhythm, Parker renders domesticity as dance. The bold floral backdrop evokes cultural memory, while the figure’s soft expression and poised stretch remind us that the kitchen, too, is a stage for self-expression and Black joy. This work stayed with me long after viewing.”
Péjú Oshin
Oil on canvas, 120 x 120 cm | 47.2 x 47.2 in
“Emergence by Sara Rossberg is a fascinating painting that gives off a tangible aura. There is so much intrigue created within the work due to the subtlety of colour and expression. The beautiful shades of blue towards the bottom of the painting and the illuminated figures against the mysterious abstracted purple background, add to the ethereal quality of the painting. I think it’s a captivating piece of work that really drew me in. Going on to learn about the unique combination of techniques that have gone into developing this method of working, only added to my admiration of the painting.”
Joshua Donkor
Oil on canvas, 150 x 120 cm | 59 x 47.2 in
“Lulu Weide’s piece, Never been to Stone Henge, is a testament to the transformative power of intuition, stripped of social context. This artwork is one I kept coming back to, the kind that engulfs you, transporting you to a place deep within your imagination. Weide’s journey from jewel tones to comforting browns, and finally to a vibrant blues, showcases her ability to embrace and overcome frustration, resulting in a composition that is both adventurous and deeply personal. The use of oil sticks and the loose wrist technique encourages viewers to surrender to the layers and enjoy the spontaneity of the artist’s instinct. This painting invites us to find serenity in chaos and beauty in discomfort, making it a compelling and, to me, a truly worthwhile winner.”
Hugo Barclay
Oil on canvas, 183 x 183 cm | 72 x 72 in
“Sandra Cavanagh’s dramatic oil painting, Death of Hector II, echoes the all too familiar narrative of pain and suffering in war. Full of pathos, this perfectly staged image combines unexpected candy colours, complex composition, and surprise elements that linger long in the viewer’s mind.”
Jackson’s Judging Panel
Acrylic on canvas, 152 x 112 cm | 59.8 x 44 in
“Tangled captures a perfect sense of light, space, and mood, in lively, vibrant brushstrokes with acrylic. Susan Stillman uses the structured forms of buildings, chimney stacks, and trees to lead the viewer’s eye across intriguing textures towards the light of a glowing evening sky.”
Jackson’s Judging Panel
Tempera on panel, 25 x 20 cm | 9.8 x 7.8 in
“Chiho Iwase’s beautiful tempera painting, In the Sacred Hill, is an animistic meditation on a hallowed place in Kumano, Japan, where it is believed the souls of ancestors are present. The painting has little details that delight as well as a mystical and gentle quality that lives up to the artist’s enquiry.”
Jackson’s Judging Panel
Pencil on paper, 38 x 28 cm | 14.9 x 11 in
“Olga Babich’s drawing uses the drama of vigorous coloured pencil lines to create an image that is sensitive and full of depth. The range of mark-making in Forest, from multi-layered hatching and subtle blends to wisps of colour, invites the viewer to spend time with this highly accomplished piece.”
Jackson’s Judging Panel
Oil pastel on paper, 45 x 45 cm | 17.7 x 17.7 in
“Taking its inspiration from Pina Bausch’s ballet The Rite of Spring, Eleanor Cottrell’s oil pastel drawing worked over light pencil demonstrates an inventive use of the medium. The result is a delicately rendered image that is at once deeply affecting as it is ephemeral.”
Jackson’s Judging Panel
Drypoint on paper, 50 x 35 cm | 19.6 x 13.7 in
“Made using a Tetra Pak plate, Ky Lewis’s drypoint Waiting for the Starman is artfully composed with the curve of the tree seeming to bend into the shape of the lo-fi substrate. Ky has achieved incredible detail in a print that is beautifully loose and expressive, and feels timeless.”
Jackson’s Judging Panel
Woodcut on paper, 71.2 x 47.9 cm | 28 x 18.8 in
“Eline Brontsema’s impressive woodcut is a masterclass in reduction printmaking. Stadtbad Spandau Nord has a clean, understated quality void of superfluous detail, preferring to hone in on the architectural shapes of a Berlin swimming pool and the beautifully evoked reflections of its water.”
Jackson’s Judging Panel
Monoprint on paper, 59 x 82 cm | 23.2 x 32.2 in
“Sally Muir’s monoprint Beyond Black 15 is named after Hilary Mantel’s ghost story and meditation on memory. Dark, brooding, and atmospheric, Sally’s use of intense blacks and how she plays with negative/positive space when portraying figures creates depth, movement, and a sense of disorientation and the eerie.”Jackson’s Judging Panel
Oil and acrylic on canvas, 150 x 100 cm | 59 x 39.3 in
“Daisy Fulton’s semi-abstract in oil and acrylic uses a painted framing device that gives movement, depth, and unexpected shape to its playful composition. Can We Not Do It Right Now suggests a still life or interior space through an interplay of blocks of colour and looser passages of paint that hold the eye.”
Jackson’s Judging Panel
Water mixable oil paint and monoprint on paper, 17.5 x 24.5 cm | 6.9 x 9.6 in
“Natasha Motaghi’s monotype, Waters of August, effortlessly evokes an airy summer scene saturated with sunlight through subtle, harmonious colours and the natural textures of this medium. Beautifully composed, the spare use of form makes this print feel as though it fell magically onto the paper.”
Jackson’s Judging Panel
Oil on canvas, 90 x 60 cm | 35.4 x 23.6 in
“The public have chosen Chloe Cox’s heartfelt painting, What’s Mine is Yours, to win the People’s Choice Award. This sensitive painting is titled to reflect the kindness this couple showed to over 200 children they fostered before their retirement last year. Exquisitely rendered, with a saint-like composition, Chloe effectively captures the essence of the couple’s nurturing spirit.”
Jackson’s Judging Panel
Soft pastel, pastel pencil on paper, 21.8 x 44 cm | 8.5 x 17.3 in
This year, we introduced the Visitors’ Choice Award, a special honour selected entirely by our audience. By scanning a QR code at the exhibition, visitors could vote for their favourite artwork.
This year’s Guest Judging Panel is made up of exciting names in contemporary painting, printmaking, and curation: Anne Rothenstein, Péjú Oshin, Hugo Barclay, Anita Klein, Andrew Torr, and Joshua Donkor.
Each Guest Judge will choose the winner of their own Judge’s Choice Award from the longlist.
Click to view profile
Artist represented by Stephen Friedman Gallery
https://annerothenstein.co.ukAnne Rothenstein grew up in a family of artists reaching back two generations. She spent her early childhood in the Essex village of Great Bardfield which was virtually an artists community. For some time Rothenstein tried hard not to become an artist and after doing only one year at Camberwell Art School in the 1960’s left to explore other avenues. She spent the next ten years earning her living as an actress but, dissatisfied, gradually returned to painting.
She had her first solo show in 1991 and has shown every 2 to 3 years since, as well as in a huge variety of mixed shows, including the Royal Academy. She is an RWA Academician and has been designing covers for The London Review of Books since 2012.
Péjú Oshin
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Péjú Oshin
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Curator, writer, and lecturer
https://www.pejuoshin.comPéjú Oshin is a British-Nigerian curator, writer, and lecturer born and raised in London. Her work explores the intersection of art, style, and culture, with a focus on liminal theory and diasporic narratives. Oshin has a proven track record of supporting artists at various career stages, collaborating with emerging talents and cultural producers at institutions like Tate, Barbican, and Wellcome Collection.
As an Associate Lecturer at Central Saint Martins, Oshin taught courses in Fashion and Culture & Enterprise departments. She authored “Between Words & Space” (2021), a collection of poetry and prose, and has written for artists and the Financial Times HTSI. In 2021, Oshin was shortlisted for the Forbes 30 Under 30 Europe list in the Arts & Culture category and selected as one of fifteen “rising stars” by AWITA.
Currently serving as Associate Director at Gagosian, Oshin is also a member of the ArtFund Curatorial Diversity Steering Group and a trustee of iniva (Institute of Intenational Visual Arts). Her previous roles include Curator of Young People’s Programmes at Tate (2018-2022), Chair of Trustees at Peckham Platform and a judge for a number of cultural initiatives. Oshin’s multifaceted career demonstrates her commitment to fostering diverse voices in the art world and bridging cultural gaps through her curatorial practice.
Director of Affordable Art Fair UK
https://www.hugobarclay.comHugo Barclay is UK Fair Director at Affordable Art Fair, leading the execution of three London art fairs. His previous experience includes managing the gallery programme at London Art Fair and among previous roles at Artsy and art advisories. He has an acute understanding of the gallery ecosystem he is particularly passionate about nurturing living artists, and the galleries supporting them.
Printmaker and painter, fellow and past president of the Royal Society of Painter Printmakers
http://www.anitaklein.comAnita Klein studied at Chelsea and the Slade schools of art. She is a fellow and past president of the Royal Society of Painter Printmakers (RE) and her work is in many private and public collections in Europe, the USA and Australia, including Arts Council England and the British Museum. She divides her time between studios in London and Anghiari, Italy.
“Ravel said he wanted his music to be complex, but not complicated. Anita Klein might say the same of her art. There is a grand simplicity to her works, but that is not the same as saying they lack subtlety and ambiguity. On the contrary, they have the sort of unselfconscious directness that comes from living and breathing art for so long that it becomes second nature” – John Russell Taylor
Artist, winner of Jackson’s Art Prize 2024
https://andrewtorr.comBorn in Yorkshire in 1965, Andrew Torr moved to London in 1983 to study painting under Bernard Cohen at Wimbledon School of Art. He has lived and worked in the capital since completing his degree in 1987 initially from a studio in Cable Street in the East End and latterly in Wandsworth.
Much of his work has been an attempt to render and explore the city, and most recently, Torr has been working on a series of paintings of suburban housing estates; the modest, all-purpose, vernacular architecture, ubiquitous in UK towns and cities. These paintings share the same interest in big spaces and the lived environment but, although they are formal paintings, they are charged with a quiet melancholy
and ennui.
In 1992, Torr took a forced sabbatical after suffering a serious accident which severed all the tendons and nerves of his right hand. This may well have finished his career but surgeons were able to reattach the connective tissue and, through therapy and determination, he regained enough dexterity to return to painting.
Artist, Contemporary British Portrait Painters member
https://www.joshuadonkorart.co.ukJoshua Donkor (b. 1997, UK) is a Ghanian-British painter whose work uses portraiture as a tool to subvert monolithic portrayals of Black identity.
“My goal is to tell people’s individual stories,” Donkor says. “What essentially makes the work I do so accessible to so many people has to do with the fact that so many people have a background of being in between; between different cultures and different families. People are stuck in between different worlds that are equally part of themselves. That comes through in the work.”
RBA Rome Scholarship 2024
Royal Society of Portrait Painters 2024
First Prize: £6,000 + £2,000 art materials
Jackson’s Choice Awards (x6): £1,000 art materials each
Judge’s Choice Awards (x6): £1,000 art materials each
People’s Choice Award: £1,000 art materials
Student Award: £500 art materials
Amateur Award: £500 art materials
Material Awards and Sponsors:
Oil: Michael Harding worth £1,500
Acrylic: Royal Talens worth £1,500
Watercolour: Schmincke worth £1,500
Drawing: Faber-Castell worth £1,000
Pastel: Sennelier worth £1,000
Intaglio: Cranfield worth £1,000
Relief: Speedball worth £1,000
Planographic: Lawrence worth £1,000
7th – 11th May 2025
Returning for the sixth year, we partnered with the Affordable Art Fair, Hampstead, to showcase a selection of shortlisted and prize-winning works.
24th – 29th June 2025
Returning to Bankside Gallery for the third year, the 2025 finalists exhibition presented a selection of shortlisted and prize-winning artists, chosen from 12,964 submissions across 129 countries. 57 original paintings, drawings, and prints were on show, including the first prize winner, Slick With Olive Oil by Eleanor Johnson.
See highlights and watch the film from the Private View on Jackson’s Art Blog.
• UK and international artists.
• Amateur, emerging, and established artists.
• Artworks in painting, drawing, and printmaking.
• Any subject matter.
• £5 early bird entry | 25th November – 31st December
• £6.50 discounted entry | 1st January – 18th February
• £7 full price entry | 19th February – 2nd March
Submit 5 artworks for the price of 4 until 18th February
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