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            <url>
                        <loc>https://jamescollins.art</loc>
            
            
            <lastmod>2026-03-16T08:50:57+00:00</lastmod>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/T1734507620962319574332443229245/6.jpg</image:loc>
                                            <image:caption>Lithic Root 42, Acrylic and Oil on Canvas, 42 x 52cm, 2024–25&lt;br /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;James Collins (b. 
1992, Darlington) is a painter whose work is rooted in the physical and 
material logic of paint — its weight, resistance, and slow 
transformation.&lt;br /&gt;
&lt;br /&gt;Working in acrylic, oil, oil bar and pigment on canvas, Collins builds 
paintings through prolonged processes of layering and reworking. The 
surface becomes a geological record: dense, encrusted, bearing the full 
evidence of its own making. His two primary bodies of work — the Lithic 
Root and Liquid Engineers series — are concerned with forms that are 
discovered rather than designed. Ancient, structural, and emergent, they
 arise through sustained physical engagement with the canvas rather than
 through prior composition.&lt;br /&gt;
&lt;br /&gt;Collins holds an MA from the Royal College of Art, London (2017) and a 
BA from Wimbledon College of Art (2015). He has exhibited at Encounter 
Contemporary, Lisboa; Workplace, London; Warwick Arts Centre; James 
Fuentes, New York; and the ICA, London, and was included in Bloomberg 
New Contemporaries (2015) and the John Moore Painting Prize (2016). His 
work is held in collections across the UK, Europe, America, Canada, and 
New Zealand.</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/T2363288003957830061133769505853/website1.jpg</image:loc>
                                            <image:caption>Lithic Root 42, Acrylic and Oil on Canvas, 42 x 52cm, 2024–25&lt;br /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;James Collins (b. 
1992, Darlington) is a painter whose work is rooted in the physical and 
material logic of paint — its weight, resistance, and slow 
transformation.&lt;br /&gt;
&lt;br /&gt;Working in acrylic, oil, oil bar and pigment on canvas, Collins builds 
paintings through prolonged processes of layering and reworking. The 
surface becomes a geological record: dense, encrusted, bearing the full 
evidence of its own making. His two primary bodies of work — the Lithic 
Root and Liquid Engineers series — are concerned with forms that are 
discovered rather than designed. Ancient, structural, and emergent, they
 arise through sustained physical engagement with the canvas rather than
 through prior composition.&lt;br /&gt;
&lt;br /&gt;Collins holds an MA from the Royal College of Art, London (2017) and a 
BA from Wimbledon College of Art (2015). He has exhibited at Encounter 
Contemporary, Lisboa; Workplace, London; Warwick Arts Centre; James 
Fuentes, New York; and the ICA, London, and was included in Bloomberg 
New Contemporaries (2015) and the John Moore Painting Prize (2016). His 
work is held in collections across the UK, Europe, America, Canada, and 
New Zealand.</image:caption>
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        </url>
            <url>
                        <loc>https://jamescollins.art/navi-bar</loc>
            
            
            <lastmod>2026-03-13T06:12:13+00:00</lastmod>
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        </url>
            <url>
                        <loc>https://jamescollins.art/exhibitions</loc>
            
            
            <lastmod>2026-03-13T06:05:40+00:00</lastmod>
            <changefreq>always</changefreq>
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                                            <image:caption>Lithic Root 57,  Acrylic and Oil on Canvas, 2025-26, 140 x 200cm &lt;br /&gt;
&lt;br /&gt;
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                                            <image:caption>Installation View - New Paintings at Encounter, Lisboa, 2023-24&lt;br /&gt;Courtesy of the Artist and Encounter&lt;br /&gt;
&lt;br /&gt;
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                                            <image:caption>Lithic Root 6, Acrylic and Oil on Canvas, 55 x 80cm, 2023&lt;br /&gt;
&lt;div style=&quot;text-align: center&quot;&gt;Courtesy of the Artist and Encounter&lt;/div&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;</image:caption>
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                                            <image:caption>Lithic Root 1, Acrylic and Oil on Canvas, 32 x 17cm, 2021-23&lt;br /&gt;
&lt;div style=&quot;text-align: center&quot;&gt;Courtesy of the Artist and Encounter&lt;/div&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;</image:caption>
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                                            <image:caption>Lithic Root 3, Acrylic and Oil on Canvas, 23 x 32cm, 2021-23&lt;br /&gt;
&lt;div style=&quot;text-align: center&quot;&gt;Courtesy of the Artist and Encounter&lt;/div&gt;&lt;br /&gt;
&lt;div style=&quot;text-align: center&quot;&gt; Encounter
 is pleased to present James Collins – New Paintings opening on Thursday
 23rd November 2023. The exhibition is the artist’s first solo show in 
Portugal and brings together a collection of recent works created over 
2020-23. This selection is representative of the distinct visual 
language for which Collins has become recognized, whilst also marking a 
significant development in the language of the paintings. Through his 
material preoccupation with the inherent logic of painting and ongoing 
experimentation with the alchemy of paint, the diverse and enigmatic 
objects Collins forms have taken on a fresh agency. &lt;br /&gt;
&lt;br /&gt;
Collins’
 works are shaped over extended periods and hold the history of their 
making in the dense painterly ground from which they emerge. The 
paintings possess a formal weight and palpable physicality in their 
encrusted, layered and labored surfaces. The essential viscosity of the 
compositions Collins renders, reflect a process of slow contemplation in
 which gradual thoughts are not only formed, but continually malleable 
and left reverberating on the edge of movement. The works operate like 
an active archeological site, in which the bones of ideas are 
perpetually dug out, brought to light, dusted and reburied to be later 
excavated again. The painted forms feel settled and established through 
large passages of time. Collins’ paintings expand and contract around a 
cognitive cartography particular to the artist. Similar to a stream of 
water impressing itself onto the earth or spreading through an ancient 
floodplain, the works slowly carve and reshape familiar routes, 
depositing a rich sediment of references as they journey through their 
painterly landscapes. The works are rooted in a syntax of recurring 
signs and symbols often interspersed in hidden pathways throughout their
 organic compositions. For instance, enduring motifs of the adjacent 
circle and square recur, sometimes rendered on the verge of lithic 
sculptural relief and at other moments hazily emerging through a veil of
 translucent color. Often a series of interwoven forms will catch the 
light, like the skeletal body of a buried fossil enticing the eye from 
within the face of a rock.&lt;br /&gt;
&lt;br /&gt;
 Collins plays with the alchemy of painting, which is apparent through 
his unusual rendering and merging of raw pigment and oil paint. Through 
this meticulous process, he utilizes the transformative power of paint, 
to open up new spaces of possibility. By pushing the material into 
foreign spaces, paint becomes an unknowable substance, bordering on the 
otherworldly. Consequently, the paintings appear to be formed from 
living matter both inside and outside of time. The works enigmatic 
materiality conjures a diverse range of associations from cellular 
structures to the ethereal blue glow of bioluminescent algae rising to 
the surface of the ocean at night. The use of a historically loaded 
medium such as ‘oil on canvas’ inevitably nods to numerous resonant 
pictorial histories of 20th century painting. Yet, Collins’ works travel
 beyond these marked associations into a vocabulary which is 
distinctively his. New Paintings runs until the 27th of January 2024.&lt;/div&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;The Reason for Painting, Mead Gallery, Warwick Arts Centre&lt;br /&gt;
&lt;br /&gt;
The Art Riot Collective, Betsy Bradley, James Collins, Pam Evelyn, Jadé 
Fadojutimi, Rachel Jones, Harminder Judge, Melike Kara, Rob Lyon, Oscar 
Murillo, Ruairiadh O’Connell, Francis Offman, Mary Ramsden and Sam 
Windett.&lt;br /&gt;
&lt;br /&gt;4 May – 25 June 2023&lt;hr /&gt;</image:caption>
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                                            <image:caption>&lt;div style=&quot;text-align: center&quot;&gt;&lt;span class=&quot;caption&quot; style=&quot;line-height: 0.65;&quot;&gt;Installation View, The Reason For Painting at Warwick Arts Centre, Birmingham, UK, 2023&lt;br /&gt;
&lt;br /&gt;
&lt;i&gt;Rachel Jones (left), Betsy Bradley (centre) and Ruairiadh O`Connell (right)&lt;br /&gt;
&lt;br /&gt;
&lt;/i&gt;&lt;span style=&quot;line-height: 0.5; --font-scale: 0.97;&quot;&gt;Courtesy of the Artist and Warwick Arts Centre&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;</image:caption>
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                                            <image:caption>&lt;div style=&quot;text-align: center&quot;&gt;&lt;span class=&quot;caption&quot; style=&quot;line-height: 0.65;&quot;&gt;Installation View, The Reason For Painting at Warwick Arts Centre, Birmingham, UK, 2023&lt;br /&gt;
&lt;br /&gt;
&lt;i&gt;Rob Lyon (left), Pam Evelyn (centre) and The Art Riot Collective (right)&lt;br /&gt;
&lt;br /&gt;
&lt;/i&gt;&lt;span style=&quot;line-height: 0.5; --font-scale: 0.97;&quot;&gt;Courtesy of the Artist and Warwick Arts Centre&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;&lt;br /&gt;The Reason for Painting intends to create a space to be uplifted, 
intrigued, liberated and to momentarily escape the social and economic 
crisis we are living in today. This exhibition brings together a diverse
 group of younger artists who share their experiences of experimenting 
with colour, mark and form, to create moments of joy.&lt;br /&gt;
&lt;br /&gt;
Varying in 
scale, these artists’ works are intense, intuitive, and expressive. 
Others are contemplative and logical, presenting large fields of colour.
 Their inspirations include Tantra, Wabi Sabi, Arte Povera, Kurdish 
Ritual and Mono-ha.&lt;br /&gt;
&lt;br /&gt;
These works of art redefine what abstract 
means. They can be seen as a two-way encounter between the artist and 
the viewer. Each of these artists defy creative conventions to unleash a
 new confidence in abstraction.&lt;br /&gt;
&lt;br /&gt;
Artists of this exhibition 
include: The Art Riot Collective, Betsy Bradley, James Collins, Pam 
Evelyn, Jadé Fadojutimi, Rachel Jones, Harminder Judge, Melike Kara, Rob
 Lyon, Oscar Murillo, Ruairiadh O’Connell, Francis Offman, Mary Ramsden 
and Sam Windett.
</image:caption>
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                                            <image:caption>&lt;div style=&quot;text-align: center&quot;&gt;&lt;span class=&quot;caption&quot; style=&quot;line-height: 0.65;&quot;&gt;Installation View, The Reason For Painting at Warwick Arts Centre, Birmingham, UK, 2023&lt;br /&gt;
&lt;br /&gt;
&lt;span style=&quot;line-height: 0.5;&quot;&gt;&lt;i&gt;&lt;span style=&quot;--font-scale: 1.05;&quot;&gt;James Collins (left) and Jade Fadojutimi (right)&lt;/span&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;/i&gt;&lt;span style=&quot;--font-scale: 0.93;&quot;&gt;Courtesy of the Artist and Warwick Arts Centre&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;/div&gt;</image:caption>
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                                            <image:caption>&lt;div style=&quot;text-align: center&quot;&gt;&lt;span class=&quot;caption&quot; style=&quot;--font-scale: 1.01; line-height: 0.65;&quot;&gt;Liquid Engineers 39, Acrylic and Oil on Canvas, 90 x 70cm, 2021&lt;br /&gt;
&lt;br /&gt;
&lt;span style=&quot;line-height: 0.5; --font-scale: 0.97;&quot;&gt;Courtesy of the Artist and Warwick Arts Centre&lt;/span&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;/div&gt;</image:caption>
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                                            <image:caption>Installation View - Passages at Encounter, Lisboa, 2024&lt;br /&gt;James Collins (centre), Anderson Borba (floor) and Biraaj Dodiya (right)&lt;br /&gt;
Courtesy of the Artist and Encounter&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;Ground | Workplace &lt;br /&gt;
12 April – 25 May 2024&lt;br /&gt;
&lt;br /&gt;
</image:caption>
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                                            <image:caption>Lithic Root 40, Acrylic and Oil on Canvas, 20 x 61cm, 2024-25&lt;br /&gt;Courtesy of the Artist and Encounter&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;</image:caption>
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                                            <image:caption>Lithic Root 20, Acrylic and Oil on Canvas, 42 x 64cm, 2024&lt;br /&gt;Courtesy of the Artist and Encounter&lt;br /&gt;
&lt;br /&gt;
</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/Q2359565331155259226726703856701/website6.jpg</image:loc>
                                            <image:caption>Lithic Root 11, Acrylic and Oil on Canvas, 25 x 19cm, 2022-24&lt;br /&gt;
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                                            <image:caption>Lithic Root 18, Acrylic and Oil on Canvas, 23 x 32cm, 2024&lt;br /&gt;Courtesy of the Artist and Workplace&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Made deliberately and slowly, often over several years, James Collins 
employs additive means to excavate shapes and forms that emerge from 
within and beneath, as if always there. In his meticulous, densely 
layered paintings, gradual accretions of oil are built into mounds, 
furrows, and channels, becoming topographical sites of intense colour.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Deep, pearlescent beetle-black blues withhold and reflect light, whilst 
seemingly earthen browns - on closer inspection - emit spectral 
patchworks of luminescence. For Collins, paint is alchemical. In the 
laboratory of his Darlington studio in Northern England, pigment and 
medium are mixed and melded to create impossibly chromatic hues that 
shift constantly with the changing light, and as one moves around them.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Challenging the idea of painting as pictorial space, Collins insists on 
the paradoxical nature of painting both as surface and as event. As 
objects, his paintings resist narrative and interpretation, remaining 
absolute in their immediacy, confronting the viewer with the fact of 
their materiality. Simultaneously, his paintings require the viewer to 
succumb to spatial and temporal dislocation - to be transported by, and 
with, each painting – as if through the unknowable reaches of deep time:
 through epochs, civilisations, and evolution. Through singular, glacial
 intent, Collins reveals foundational, archetypal forms, primordial 
signifiers of the great arc of existence.</image:caption>
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                                            <image:caption>Installation View, Domino at Encounter, 2025&lt;br /&gt;Courtesy of the Artist and Encounter&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;</image:caption>
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                                            <image:caption>Installation View, Domino at Encounter, 2025&lt;br /&gt;Courtesy of the Artist and Encounter&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;</image:caption>
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                                            <image:caption>Installation View, Domino at Encounter, 2025&lt;br /&gt;Courtesy of the Artist and Encounter&lt;br /&gt;
&lt;br /&gt;
In &lt;i&gt;Domino,&lt;/i&gt; five international artists gather in the Lisbon light to start a 
dialogue through intuition and inquiry. Olivia Bax, James Collins, Daiga
 Grantina, Monique Mouton and Francis Offman approach material with a 
sense of instinct and momentum. They respond perceptively to the 
architectural qualities offered by this building. Like the careful 
placement of dominoes before the fall, this exhibition invites viewers 
to trace a line between the works, not necessarily linear, but as a 
continuation of echoes and reverberations.&lt;br /&gt;
&lt;br /&gt;The
 title implies a relational logic, particularly the way one work leans 
gently into another, suggesting a reaction of gestures, textures, and 
tones. Though varied in media and intent, each artist shares a 
sensibility for simple materials and forms. From dense deposits of paint
 and paper pulp to assemblages of everyday materials and gestural mark 
making in watercolour/pastel, there is an attempt to decode and make 
beauty of daily debris—whether through the construction of painted 
surface, the tension in sculptural form, or the layering of narrative 
within abstraction. &lt;br /&gt;
&lt;br /&gt;Olivia
 Bax’s vibrant, contoured sculpture and drawings anchor the physicality 
of the exhibition, their hand-wrought surfaces reveal an intimate 
choreography of labour and balance. Her practice is characterised by 
familiar elements such as hooks, handles or vessels incorporated into 
sculptures in unfamiliar ways. Bax generates her own paper pulp to cover
 and form over linear armatures. James Collins slows down the process of
 painting to mine moments of arrival and disappearance. His malleable 
use of paint is applied to appear both solid and fluid, impressing 
itself onto the support and spreading through built-up floodplains, 
depositing a rich sediment of references. Daiga Grantina’s sculptures 
are amorphous in form. Her works are reactive to their exhibited 
environment and invite natural light to be a protagonist that navigates 
volume and form at the point where perception and physicality intersect.
 Monique Mouton’s paintings are studies in nuance and balance, where 
edges dissolve and colour fields drift beyond their boundaries. Her use 
of colour can shift and spill from being ethereal and diluted to bold 
and dense. Francis Offman recycles gifted and collected materials 
including canvas, coffee grounds and pigment to contribute a tactile and
 historical density to the exhibition, incorporating materials that 
speak to migration, memory, and identity.&lt;br /&gt;
&lt;br /&gt;Together,
 the artists offer an open-ended conversation. Domino unfolds not as a 
narrative of cause and effect, but as a constellation of encounters, 
linked by colour, light and form.&lt;br /&gt;
&lt;br /&gt;
&lt;i&gt;Domino &lt;/i&gt;runs until 5th July 2025. &lt;br /&gt;
&lt;br /&gt;
&lt;i&gt;Curation and text by Thomas Ellmer&lt;/i&gt;&lt;br /&gt;
&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;&lt;hr /&gt;</image:caption>
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                                            <image:caption>Lithic Root 57,  Acrylic and Oil on Canvas, 2025-26, 140 x 200cm &lt;br /&gt;
&lt;br /&gt;
</image:caption>
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        </url>
            <url>
                        <loc>https://jamescollins.art/cv</loc>
            
            
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        </url>
            <url>
                        <loc>https://jamescollins.art/info</loc>
            
            
            <lastmod>2026-03-13T06:05:40+00:00</lastmod>
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        </url>
    
</urlset>