Declan Jenkins produces woodcut prints, paintings and drawings defined by an organic, sculptural use of line married to planes of flat bright colour. The creation and development of imagery lies at the heart of his practice. Patterns and forms that suggest archaic, neolithic art sit alongside more futuristic elements that resemble circuitry, space travel or the dreams of machine elves. Through his cerebral sensibility he creates in his work a new fictional mythology characterised by a haptic, handmade and rhythmic language.
His style is inspired by, among others, the work of German expressionists, the minimalist movement, and the aesthetics of Aboriginal and African geometric patterns. Over the last few years, he has made work across a variety of media including performance, video, installation, and sculpture.
Declan Jenkins (b.1984) completed his postgraduate diploma in Fine Art at the Royal Academy Schools, London, in 2015 having previously studied at Wimbledon College of Art. He recently had a solo show at Sims Reed Gallery, London (2017). His work has been featured in the XL Catlin Art Guide 2016, Flaunt Magazine (issue 145), Financial Times Collecting: London Art Week 2017 and the Royal Academy of Arts Magazine (Summer issue, 2017).
Platform Foundation Asks
Who is your artistic hero? Joseph Beuys.
Which work of art you wished you owned? Emil Nolde’s 1912 woodcut, ‘Prophet’.
What is the most indispensable item in your studio? My two ‘Faithful’ G clamps.
Describe your studio in three words: Like a chapel.
Do you collect anything? I’m a magpie, and my wife is the same. Trinkets really: horns, croquet balls, trilobites, shells, seedpods. Oh and we have a few antique door wedges. There is one with a dancing bear on it.
What kind of music do you listen to while you work? Anything really. At the moment LCD Soundsystem.