Artist Spotlight: Jack Browning

Jack Browning (b. 1997, London, England) is a contemporary painter and musician whose distinctive interpretations of Western culture resonate through authentic portrayals rooted in personal relationships and cross-cultural experiences. Initially focused on traditional realism, Jack refined his approach toward expressive figurative painting after studying with renowned artists, notably Joshua LaRock, whose mentorship deeply influenced his use of color and dynamic composition.

Jack’s transatlantic perspective, shaped by music tours, extensive research, and friendships across the American West, allows him to thoughtfully reinterpret classic Western imagery, moving beyond stereotypes toward genuine representation. His cinematic color palettes—ochre-infused blues reminiscent of vintage film—highlight his fascination with how the West has traditionally been perceived through media, while simultaneously celebrating contemporary narratives.

Jack’s international recognition includes selection for the prestigious Society of Graphic Fine Art Exhibition in London, and his notable inclusion in the Taos Art Museum’s 2024 Summer Gala and Mark Maggiori’s 2025 Far West exhibition. Praised by collectors, press and artists alike for his rhythmic and emotionally resonant style, Jack Browning is rapidly establishing himself as a compelling new voice bridging traditional Western themes with fresh authenticity.

I’ve always been fascinated by portrait painting, especially when I’ve been fortunate enough to portray ordinary people with extraordinary stories. I’ve been fortunate enough to paint musicians, soldiers, actors and storytellers, and some of my favourite work has been in painting portraits of grandfathers, mothers, brothers and sisters, all with their own fascinating stories to inspire the finished painting.

During my university years, I developed a deep interest in the American West from what had been a lifelong (though relatively superficial) obsession with its film, music, literature and art. Moreover, I wanted to understand first my place within it as a literal and cultural outsider from England, and then to grapple with its myriad peoples and communities, and their stories, history and art.

Following on from a series depicting my contemporary musical inspirations and colleagues, I embarked on a series of more focused Western paintings, working closely with photographers and friends to depict scenes from the ubiquitous rodeo, as well as ranching families, touring troubadours and the often-under-represented history of persons of colour in the West. 

This work debuted with my first-ever solo show, with Dallas’ Western Gallery, and a landmark appearance in September 2025 as an exhibiting artist with The Far West Show in Austin, alongside a number of my biggest inspirations like Mark Maggiori, Glenn Dean, David Kassan, and more. It’s this latter show that has been the focus of my work this year, with two large works and two miniatures on display for the very first time. 

I think because, as a British person, much of the West was exported to us by film and advertising, much of my work retains an almost-filmic quality, and I tend to use a palette that eschews that 35mm film spectrum of warm, earthy colour. I also think that, being self-taught, my technique is probably full of holes and is very unorthodox, but it seems to be working, and I’ve found that I am really enjoying experimenting and playing with materials again!

I was first introduced to Rosemary brushes in 2019, when I was gifted Andrew Tischler’s brush set. I think those first two years, I was trying to find my own voice and really just playing with different brush types and working out what seemed to fit my developing style (if you could even call it that!).

Then, in 2022, I had the opportunity to attend a week-long atelier with Joshua LaRock, one of my favourite contemporary painters, and it was there in Yorkshire that I first met Rosemary and the rest of the gang and really got a handle on (badum-tshhh) what it is I wanted in a brush. I also got roped into playing a few songs for Rosemary at her house, which she still expects every time I visit, but I digress…

I think the quality of the brushes speaks for itself and is very well-known by now (though my caring for them became a bit of a running joke!), but one of the things I always tell folks is the sheer choice an artist has at their disposal when choosing something of Rosemary’s. There really is a brush type for everybody, and then in those, you have a ton of options in terms of shapes, which then might impact how you might, say, load the brush.

On a return to Yorkshire a year or so later, I really struck it off with the Evergreen series, and they’re still my meat and bones now, painting for things like The Far West. I particularly love the Filberts, and the Ultra-Long Flats suit how I attack a painting, and don’t seem to get fouled up despite my best efforts at times! These are supplemented by a few Sable brushes for detail or some more traditional, harder-bristled brushes, but my foundation seems to be the Evergreens, and I really don’t see that changing!

Find out more about Jack Browning on his website, his Instagram or his Facebook.