Jim Naughten examines how we have become disconnected from nature in the modern era through his magical and surreal artwork.

Transmission 080: Interview with Jim Naughten

Jim Naughten is a British artist who integrates painting, photography, and stereoscopy to explore themes of ecology and the natural environment. Educated in fine art at Lancing College and in photography at the Arts Institute of Bournemouth, Naughten employs digital enhancement techniques in his work. He describes his process as “digital painting,” combining elements from his artistic and photographic backgrounds.

Naughten’s technique involves capturing images of animals and then digitally editing these to remove them from their natural habitats. He often uses vivid colors to alter the perception of these images, challenging the traditional role of photographs as representations of unaltered reality. His works frequently feature animals in strikingly recolored, panoramic scenes, drawing attention to issues such as climate change and the impact of human activity on biodiversity. Through his art, Naughten encourages viewers to reflect on their relationship with wildlife and consider the future of global biodiversity.

His works have been exhibited internationally, including solo exhibitions at the Horniman Museum, the Wellcome Collection, and the Imperial War Museum. Naughten has also participated in group exhibitions at the National Portrait Gallery and the Royal Academy of Art in London. He was shortlisted for the Vevey Images photo prize in 2012 and nominated for the Prix Elysée in 2016.

Jim Naughten’s official site and Instagram

Can you share what moved you into the world of art and what initially drew you to explore themes of ecology and the natural world? Were these themes relevant for you since childhood?

I drew and painted like most children do, and found that it was always my strongest subject at school. My art teacher recommended that I applied for an art scholarship which I won at my main school. I gained a place at art school on the strength of my work and didn’t need to pass any exams. That was a nice feeling. I grew up with a fascination for dinosaurs and natural history museums and loved animals so it was easy to find an affinity for the natural world. When I read ’Sapiens’ in its publication, a light bulb went off in my head and I realised how much we have damaged our home, and in lightning speed. It’s hanging on by a thread.

Who or what have been your most significant influences in developing your passion and interest in the natural environment? Can you share with us one of the best  memories that embolden you?

I would say reading ’Sapiens’, which explains how recently humans have arrived on the planet, how quickly we have overrun it and how little regard we have for our fellow planet dwellers. I read a lot about our ancestors too, through Jared Diamond and David Graber ( for example ) and how they were deeply connected to the natural world. I’m saddened that we have lost this, and our respect for earth systems. I would describe myself as an armchair environmentalist, as I read a great deal about it.  Jane Goodall gave a talk at my last exhibition which was a bit of a career highlight. She’s brilliant, and inspiring. 

His creations of warped historical realms, shrouded in mystery and mythology, serve as an ethereal haven of the mind.

You use a variety of mediums, including photography, painting, and stereoscopy. What challenges and advantages do you find in working with different techniques?  How did you get into stereoscopy and how was it important for you to  use it within your own artworks  to develop your message? How does this technology enhance your message about the natural world and its fragility?

I started off painting, and then ended up using photography for most of my career so far. I use a lot of photoshop which reminds me a bit of using oil, in the sense that I can come back to the ‘canvas’ again and again and keep changing things, moods, colours, tones, elements until I have my image. I stumbled across stereoscopy when researching a project and feel in love with it, particularly looking at very old Victorian era stereo images which feel like going back in time. It was difficult to work with and very hard to get any press or publicity so it’s a real labour of love. I’m using AI for my current project ‘Biophilia’ which is just extraordinary.  It works brilliantly for this project as it is about fictional and fantastical ideas of the natural world. AI does surreal, odd, dada, very well at the moment. My last project ‘ Eremozoic’ used natural history specimens, a fictional man made product, to comment on our fictional idea of the natural world, and AI does the same. 

For those who want to see past the material world and into a parallel reality, his artwork offers a serene retreat filled with color.

Your work explores the intricate connections between humans and the natural environment. You approach translating complex themes into visual art also with a soft ironic touch. How do you balance aesthetic appeal with the underlying ecological messages? How do you integrate research on ecological topics into your art?

I was working on a project in the Field museum in Chicago which was packed to capacity at the time, you could hardly move for buggies, tourists and school groups. There was a special exhibition on wildlife extinction without a single person inside and I realised then and there that I had to do something about it. It’s just so difficult to share the bad news with regard to biodiversity loss and climate change, but awareness is absolutely critical to change habits. I felt my work should bring the public in in the first instance and had to be colourful and engaging. Then at least I have a chance to talk about these urgent issues. My understanding always comes from books and podcasts. Books on ecology, extinction, dinosaurs, food systems, and so on. 

How do you decide which medium to use for a particular project or concept? Can you walk us through your creative process when starting a new piece or series?

I’ve been using photography and stereoscopy up until recently and the new project uses AI. I’m hoping to start painting in September/October but also working on an exhibition of my AI work in January ( At Rebecca Hossack in London ). Project ideas come from all over the place but have come from reading history, looking at art, listening to the radio. I used to go back to childhood influences ( Re-enactors were like my childhood toys now in 1 : 1 scale ) . Hereros came from a fascination with archeology or moments frozen in time, as did Animal Kingdom and Human Anatomy. More recently I think my work is more like activism, in the sense that it’s always about biodiversity loss or our relationship with animals and the natural world. That should be keep me going ! Also animals ( and in particular museum specimens) are much easier to work with than people. 

His first monograph, ‘Re-enactors,’ was released by Hotshoe Books in 2009. His second series, ‘Costume and Conflict,’ was released by Merrell in March 2013. His third series, ‘Animal Kingdom,’ was released by Prestel in April 2016; his fourth series, ‘Human Anatomy,’ by Prestel in 2017; and his fifth series, ‘Mountains of Kong,’ by Hoop Editions in 2019.

Can you please tell us how the idea of the photo project of the portrait of Herero tribe members of Namibia, came from? Can you tell the story behind it?

I had travelled across Africa by motorbike and Namibia was a revelation. I loved the desert, the space, the strange, colourful tribes and found the brutal and hidden history fascinating. The Herero wear Victorian era dresses introduced by the colonial era missionaries and the men wear paramilitary costumes to honour their ancestors who were killed during the German/Herero war, often cited as the first genocide of the last century. The costumes act as a kind of history, frozen in time and are a powerful symbol of their survival and culture. There is a town that has been abandoned and reclaimed by the desert and a lot of ghosts in the desert and the skeleton coast. It’s beguiling. 

How did you start your collaboration with Dr Jane Goodall? Can you share with us some anecdotes?

I photographed Jane many years ago for the times and more recently her grandson Nick contacted me as he loved my work and wanted to show it to his gran. Nick is starting a career as a filmmaker so I’ve been helping him where I can and it lead to my idea to raise money for Janes institute through print sales. I had previously raised money for FFI ( Fauna and Flora International ) and WWF. Jane gave a wonderful talk at my last exhibition and that was wonderful. If you haven’t seen ‘Jane’ the movie, I recommend it thoroughly. I was a little nervous so Jane gave me some Laphroaig whisky and made some chimp noises backstage to put me at ease. 

Naughten’s latest artworks delve into scientific and biological theories, drawing inspiration from E. O. Wilson’s theory that we are living in the Eremozoic era, defined as a time of loneliness following massive extinctions brought on by human activities.

How has your perspective on the natural world evolved over the course of your career? How do you personally see sustainability and environmental consciousness in daily life?

When I started working I was more concerned with recent human history and human stories, but over time, and as a long suffering Guardian reader, I became painfully aware of the climate and nature crisis issues. I’ve become fascinated by the stark contrast between our ancestors’ relationship and ours. There’s seemed to be full of magic and connection, with animals as people. I feel this new word ’Solostalgia’ which is a sadness for some lost place or feeling that has disappeared. In my daily life I don’t eat animals or dairy and use my bike as much as possible. Every small thing we can do will help but sometimes it feels like a very uphill battle. 

As environmental issues become increasingly pressing, art is a powerful tool for raising awareness. How do you see the role of artists evolving in addressing these challenges? What is the role and the relationship between art and activism?

I think art is a powerful tool to communicate ideas. Environmental issues are rarely fun to discuss and it’s horrifying how many people I speak to don’t want to engage or change their habits at all, regardless of the consequences for them or their children, but you have to try and keep trying. 

What kind of impact do you hope your art has on audiences, particularly regarding awareness and understanding of ecological issues?

I hope I have some impact in communicating the severity of the biodiversity crisis to my audience and in addition a percentage of the print sale funds go directly to the conservation groups like JGI so I know its helping in some capacity. I have to keep going ! Perhaps one day I can buy a little land to give back to wildlife. That would be good.

His artworks blur the boundaries between reality and imagination, nature and the supernatural, and truth and fiction. His pictures, which reimagine classic animal shapes in unfamiliar settings with a more vibrant color scheme, are based on dioramas that can be seen in natural history museums around the world.

Photos courtesy of Jim Naughten

Dominique Musorrafiti

Ciao! My name is Dominique. I’m Italian and I’m proud to be a mix. My father was an Italian chemical engineer and high school teacher, with Greek and Polish heritage. My mother is Haitian, she was high school language teacher, with Dominican, Spanish, French, Portuguese, African and Native American heritage. Being a mix makes me appreciate to want to understand different cultures and lifestyles. I grew up in Italy, lived few years in Haiti, travel around main European capitals, lived many years in China, in Spain and UK. Traveling makes me feel that we can learn something from every situation in every part of the world.