Chloe Cox won the People’s Choice Award in Jackson’s Art Prize this year with her work What’s Mine Is Yours. In this interview, she discusses the teamwork behind her reference photos, her experience on BBC’s ‘Extraordinary Portraits’, and the one tool she can’t live without: a broken chair leg.
Above image: Chloe with her painting Windrush
Chloe Cox
Oil on canvas, 90 x 60 cm | 35.4 x 23.6 in
Josephine: Could you tell us about your artistic background?
Chloe: I’ve been an artist for as long as I can remember – if not professionally, at least at heart. As a child, I was always drawing and painting; it’s what came most naturally to me, vs. the more traditional subjects like maths and science. While studying art in my final school years, I was first introduced to oil paints, and haven’t looked back since.
Josephine: What does a typical working day in the studio look like for you? Do you have any important routines or rituals?
Chloe: Because I still work a full-time job, most of my studio time happens on weekends or during annual leave. When I am painting, I always have music, a podcast, or an audiobook playing in the background. It helps me relax and stay with the painting for hours on end. My studio days are usually loud and focused; I’m in my own world.
Josephine: Which materials or tools could you not live without?
Chloe: Of course, there’s the essentials like canvas, paint, and brushes which I can’t work without… but there’s one other tool that’s non-negotiable… When I was about eight, my Dad handed me a broken chair leg from a chair we were throwing away. He told me that professional artists use a stick to steady their hand. I remember liking the sound of ‘professional artist’, but when I tried to use it, it felt like it was just getting in my way (probably because I was painting washy sunsets and landscapes at the time). As I’ve grown older and focused on hyper-realistic portraits, I’ve come to realise how useful it actually is. Even though I could buy a professional ‘Mahl stick’ now, that old chair leg is too special to replace. I’m reminded every time of Dad’s encouragement to me all those years ago.
Josephine: Do you work from a reference? What is your process?
Chloe: I always work from reference photos, and I’ve become quite particular about using my own rather than ones clients provide. For me, it is important to control the lighting so I get the detail I need to paint realistic portraits. I also like to meet the person I’m painting to get a sense of who they are and how they want to be portrayed. My partner is an amazing photographer, so these days we often travel together to meet the sitter. He captures the photos while I direct the composition. It has become a really collaborative process that adds depth to the final painting – and a fun excuse to travel the country together.
Josephine: Do you regularly draw or keep a sketchbook? If so, how does this inform your work?
Chloe: I wish I did more casual drawing, but I sadly don’t keep a regular sketchbook. I tend to work directly onto the canvas, sketching out the composition straight away from the photograph. I know many artists thrive on daily sketching, but for me, the energy goes straight into the painting itself.
Josephine: Have you ever had a period of stagnation in creativity? If so, what helped you overcome it?
Chloe: I don’t often have creative blocks in the traditional sense. As long as I have a reference photo with exciting details, I’m ready to go! More often, the stagnation comes from having more ideas or projects than I have time to paint, particularly while balancing a job. My paintings take so long to complete that by the time I’m ready to start the next one, the idea might have evolved or been replaced by something new. Basically, I just need more hours in the day.
Josephine: Are there any specific artists or mentors who have inspired you?
Chloe: When I was studying art, I was drawn to painters like Caravaggio and Rembrandt, artists who mastered chiaroscuro. I’ve always admired that classical style, and Renaissance art is still my favourite section of any art gallery. More recently, I’m inspired by contemporary realist painters I follow on Instagram, such as Caesar Santos, and artists like Massimiliano Pironti, whose work for the ‘Seven Portraits – Surviving the Holocaust’ deeply moved me. I am fascinated by those who manage to combine technical mastery with emotional truth.
Josephine: What were you thinking about or exploring at the time you painted What’s Mine is Yours? What inspired it, and how did it come to be?
Chloe: What’s Mine is Yours was created as part of the BBC’s Extraordinary Portraits Season 4. The concept of the show is to pair artists with remarkable sitters whose everyday lives tell extraordinary stories. My sitters, Marva and Lionel, had fostered over 200 children throughout their lives, which is such a profound act of compassion and love. Meeting them was genuinely humbling. Their connection with each other and their selflessness towards so many young people really inspired me – the portrait became a celebration of their love, both for one another and for the countless children whose lives they have shaped.
Josephine: Why did this piece feel like the right one to submit?
Chloe: This painting represents a combination of so many things for me. Being part of Extraordinary Portraits was one of my proudest moments as an artist, and this painting feels like a symbol of that experience. It is one of my most technically refined portraits, but it also carries a story that I think deserves to be shared. I wanted more people to see it and to be inspired by Marva and Lionel’s story, which is ultimately about compassion and generosity.
Chloe Cox
Oil on canvas, 100 x 70 cm | 39.3 x 27.5 in
Josephine: How did it feel to realise you had won the People’s Choice Award?
Chloe: It was a full-circle moment. I’d actually entered the Jackson’s Art competition about five years ago, when I was just starting out as a freelance artist, and I only made it to the longlist. At the time, I really hoped to win the People’s Choice Award and asked everyone I knew to vote for me, but I didn’t get it. Weirdly, this time, I didn’t tell a single person that I’d entered the competition, so when I found out I’d won the People’s Choice Award – of all things! – I was completely overwhelmed. It meant so much to know that complete strangers had connected with my work enough to vote for it, and I was deeply humbled by the experience.
Josephine: How long does a painting like this take you to complete?
Chloe: I timed this one, and it took around 150 hours. It’s quite a large painting (about 90 x 60 cm), and since it’s a double portrait, it was extra complex. But that timeframe is pretty typical for my process – it’s incredibly time-consuming to paint every hair and texture in a photo, but that’s what makes it fun. The process demands patience and presence over a series of months – and, in fact, each one reminds me of the time in my life when I was painting it.
Josephine: If you could experiment with any new technique or concept without limitations, what would you love to try?
Chloe: I have always been fascinated by more abstract and expressionistic styles. Sometimes I wonder if I play it a bit safe as a realist painter, because there are so many ways to capture a person’s essence beyond realism. If I had unlimited time and the chance to be mentored in a new style, I would love to explore expressive brushwork and looser forms. I am also drawn to cityscapes and night scenes, so changing my subject matter would be an interesting new challenge, too.
Josephine: Are there any new materials or ideas you’re excited to explore using your prize?
Chloe: Do you think I should treat myself to a professional Mahl stick? I’m pretty confident nothing will compare to the magic of my chair leg, but hey, maybe it’s worth comparing. I also discovered on your website a professional paintbrush cleaning substance, which I could seriously do with trying. I’ve thrown away too many brushes due to negligence, so I am hoping this helps me work in a more environmentally-friendly way.
Josephine: What’s coming up next for you?
Chloe: At the moment, I’m still working through commission requests that came in after the TV show aired last year, which is such a treat. I recently moved house, so it’s taken me a while to get my new studio space up and running, but now that I’m settled, I’m excited to get properly painting again. I will also be exhibiting at the Manchester Art Fair this year, which I’m hugely excited (and nervous) about. I’ve attended that fair every year since moving to Manchester, and I can’t believe I’ve finally committed to displaying my work there. It’s going to be great.
Further Reading
Meet Eleanor Johnson, Winner of Jackson’s Art Prize 2025
Jackson’s Art Prize 2025 Exhibition at Affordable Art Fair
How We Collaborate With Artists
Expert Advice on Making Your Way as an Artist
Shop Oil Painting on jacksonsart.com
