Nicholas James Juett

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Artist's StatementWitness the magic of art up close and personal, see Juett’s original work and the inspiration behind his long abundant career. See for yourself, the rebirth at age 60 returning to ways he painted earlier in his art, from time spent in The United States of America. You’ll be struck by the vibrant and colourful abstract brush-strokes that adorned the walls. The paintings are a beautiful fusion of hues and shapes, each one telling a unique story.

Born here, Nick studied at the Cambridge School of Art, now Anglia Ruskin University. He then went on to study at Reading followed by a fourteen year career in the States, which included studies at the School of The Art Institute of Chicago. Securing a commission on his return in 2001 with the ROH, also awarded an artist residency Wysing Arts Centre, Bourn, became the focus for his studio practice until 2010.

Many different sizes from the Epic in scale (Four Larger Oil paintings) that have dominated the artist focus over the past year are Battersea Power Station combined with Cambridge. You will find worlds within worlds, and lots of fantastic symbolism and meaning behind his abstract realism style. Abstract art exists through patterns, colours, texture and line without the need for an external motivation. Realistic art consists of art that aims to replicate nature such as Photography. When these two elements combine to create an abstract impression of real life, you get abstract realism and Juett at his finest.

For the lovers of abstract expressionism, the collection will include Juett’s collaboration with another artist from Kurt Lewis Studios with a series titled ‘Spot-Lights’. These offer reasonable bite-sizes of the Epic. What is captured in the “Spot-Light’ is the sense of freedom and spontaneity in Juetts brush-strokes and colour mastery.

Nick here, not so good at the art talk, as ever, primarily focuses upon journeys lived by me and those told past. Art created between 2014 and 2019 explored the ongoing impact of the discovery of my namesake Robert Juett’s extraordinary journey and journal of 1609, written during his voyage with Henry Hudson, seeking the elusive Northwest Passage on the River Hudson, I’ve pictorially presented in Oil and Charcoal up until 2019. This body of work still remain embedded in my new 2023 Battersea Power Station paintings with The Half Moon ship. I’ve set this painting series to evoke environmental visual statements alongside the Backs of Cambridge Universities. It’s political.

Thanks for visiting – now come see the real thing in person and meet who is or who is not behind this. For example, my ship-flag traveller-heritage grandmother Evelyn Scarrott, born 26th July 1908 in Nottingham. Some of us are not white, everything matters.

/ Very large New Work and Old Work on view /
My own art-student days in Chicago, see my London's Underground which evokes a stake in story-telling (or lack of written account) knowing the involvement of a Daniel Juett. Now know more on him and his marriage in1835 at Hanover Sq. Westminster, London (bang on next door to my art gallery haunts 1980s). As an engineer worked alongside Isambard Kingdom Brunel, died in Bedford, Unknown to me then, became best friends with Izzie Thomas while studying at Reading – yup related!

London’s Underground, 1992. Oil on canvas; 197 x 242.5 cm (77 ½ x 95 ½ in.). £ 3,250.00
The identity I have constructed here revolves around the digging of the London Underground system in 1860, later referred to as the "two penny tube" which offered work for non-English speaking immigrants. Here I further investigate the still-life tradition as an editorial record of culture and heritage, and in particular how the setting or origination of objects may or may not invest them with intellectual, historical or psychological meaning. Even the various trademarks of manufacturers, such as a Ford logo and the wrappers from a Cadbury wild life series become ambiguous. All they have in common is their position in space so that the cohesive narrative is the fact of place; that London is the fact and the very idea of London (implied by a tube map, as if dug from earth) is central to this narrative. A capital city has more validity or identity than either things or people. Therefore by depicting the land (painted soil and furrows) I establish the existence of things secondary to nature thus place becomes the natural arbitrator of meaning [written 1992 / Master of Fine Arts / The School of The Art Institute of Chicago & Rotary Scholar 1987/88].

/ FROM ANOTHER / CURATOR AT KING'S / WAVES OF DISCOVERY
The modern day Cambridge artist, Nicholas Juett, was surprised to discover the journal while visiting Cambridge University library where he looked up ‘Juet’ in their books of old newspaper-clippings. Continuing with the theme are new pictures embracing his ‘self’.

/ CO WRITTEN / COS 2023 / AND THE OAK BISTRO 2024 /
For this visual interpretation of a long gone past, research began in 2010, visiting the University of Cambridge Library for books; Cambridge’s Fitwilliam Museum for Dutch 17th c painting alongside a lot of home web research. My ships placed upon our River Cam.

I have been refining my interaction with this material, and available works presented here represent something of a quest which has led from a finding to a knowing something about my own internal orientation in body space, mind and studio in relation to the imagined and known experiences of Robert Juett.

Alongside the ongoing series of Robert Juett-inspired paintings of ship exteriors and their connection to Nicholas Juett’s interior spaces, a new wave of work is emerging, centred on ideas of power in various guises. Literal, intellectual and political.

The imagery depicting these new thoughts uses the blunt historical force of Battersea Power Station and juxtaposes it against the Cambridge colleges with Backs river frontage, with the contrasting beauty and less obvious power represented there.

The context of painting encompasses everything, not exclusively the act of painting. Yet in this action meaning persists. He paints an idea, not simply depict a scene.

Watch out for new powers of persuasion made by the artist in his beautiful pictures alongside Digital interpretations, manifesting in Anna Cowie’s Spot-Lights of Juetts art.

/ GROUP EXHIBITIONS /
Clare Hall, Cambridge Uni (2017); Marshall’s International Airport, Cambridge (2015); Broughton House Gallery, Cambridge (2007); RAC, London (2006); Byard Art, Cambridge (2005); Kettle’s Yard, Cambridge (2004); Salon des Arts, London (2004); Ace Gallery, New York (2002); Alternative Museum, New York (1998); Lyons Wier Gallery, Chicago (1993); Painting Center, New York (1993); Ace Gallery, Los Angeles (1990).

/ SOLO EXHIBIT /
Clare Hall, Cambridge Uni (2019-20); King’s College, Cambridge Uni (2016); Picasso Gallery, Washington DC & Mandel Group, Milwaukee (2011-12); Meller Merceux Gallery, Oxford (2011); Williams Art, Cambridge (2011); Reok Museum of Contemporary Art, Szeged (2010); i2Gallery, Saffron Walden (2009); Primavera (2008); Wysing Arts Centre, Bourn (2008); Royal Opera House, London (2003); Museum of Modern & Contemporary Art, Rijeka (2001); Miroslav Kraljevic Gallery, Zagreb (2000); New Ashgate Gallery, Farnham (1987); University Art Gallery, Reading (1985); Caius College Gallery, Cambridge (1982).

/ F.Y.I - PAST RESIDENCIES /
2010 XVII. International Art Camp, Cserszegtomaj, Balaton, Hungary
Invited Guest Artist; created art along with artists all Eastern-Block
2002-10 Wysing Arts Centre, Bourn, Cambridgeshire, Great Britain
Onsite Studio Artist; private studio to be one’s self and loud music
1993-4 Marie Walsh Sharpe Art Foundation, New York, New York State, USA
The Space Program; loft space living as a painter with painters
1992 St. Edna Vincent Millay Colony for the Arts Austerlitz, New York State
Juried Residency; one month sleep and fed free in deep winter snow
1986 Cyprus College of Art, Lemba, Paphos, Cyprus
Summer Program; three month in heat sharing with other Brit artists
1985 Clay Studios & Print Workshops, Cambridge, Cambridgeshire, UK
Studio Artist; next door to the police station weird space to work

/ F.Y.I - AWARDS of RESPECT /
2016 Anglia Ruskin University / Alumni, Cambridge & Chelmsford
Contribution to Culture Award nominee & shortlist prize winner
2015 Local Government of the City of Szeged & Hammido Art School, Szeged
Youth Festival Twin Cities Teacher Award for primary school project
2010 Cambridge Szeged Society & Reök Museum, Cambridge / Szeged
Travel & Costs Award as twin city recipient and exhibitor
2008 Addenbrooke’s Hospital, ATC Atrium, Cambridge
Exhibit Loan long-term; and pictures Purchase Grant
2008 Szeged Bridge Fair, Guest Artist of the Cambridge Szeged Society Delegation
Travel Award to Hungary
2005 Byard Art, Cambridge
Awarded Second Prize, cash-prize and pending solo exhibit - never materialised
2003 Royal Opera House, Nominated by Isobel Johnstone, Senior Curator, Arts Council Awarded a
commission for public access Art Project; supported by Searcy’s
2002 East England Arts & Cambridgeshire District Council, Cambridge
Exhibit Grant at Wysing Arts Centre for solo show of USA past pictures
1995 Ludwig Vogelstein Foundation, Brooklyn
Arts & Humanities Grant, cash-prize
1994 Marie Walsh Sharpe Art Foundation, New York
One Year Artist in Residence / Tribeca; free huge loft-studio
1993 John D. & Catherine T. MacArthur Foundation & Illinois Arts Council, Chicago
Exhibit Grant; for non for profit exhibit space and two person exhibition
1992 St. Edna Vincent Millay Colony for the Arts, Austerlitz
Artist in Residence; month free studio including accommodation and cooking
1992 School of the Art Institute of Chicago, Chicago
Awarded ‘Faculty Position’ BA summer school; prestigious as a ‘real’ contract
1992 Union League Civic & Arts Foundation, Chicago
Visual Arts Scholarship (Double Honours); juror’s took one from another for me
1988 School of the Art Institute of Chicago, Chicago
Traveling Fellowship (Hon. Mention); allowed me to travel to Los Angeles
1987 Rotary Foundation, Evanston (USA), Reading/Cambridge Rotary Club (UK)
Rotary Fellowship (Ed Harris Fellow Scholar); all paid tuition and living
1986 Carlyle Square, Chelsea, London / attended by H.R.H. Princess Alexandra
Façade Gala (echoes of artist John Piper & composer Sir William Walton)
1985 Council & Senate for Arts Funding, University of Reading
Exhibit Grant for Façade; advertised by BBC radio with interview
1982-4 National Student’s Union Funding, University of Reading
Grant for The 4Arts Group founded by myself with 600 members (at £1)

Art StyleContemporary

Art SubjectsArchitecture

Art Materialsoils

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