It’s a cold January day in Painswick. Frost clings to the branches, the Cotswold stone walls of Vicarage Street shimmer with ice, and the rolling Painswick Valley is hidden beneath a thick, lingering cloud. The roads are treacherous, but as I arrive at Jane Garbett’s studio—a converted 18th century coaching house —I’m greeted by her signature warm smile. She welcomes me inside for a special opportunity to see her latest works. The studio is an eclectic mix of charm and purpose, filled with art, antique furniture, keepsakes imbued with personal stories, and dried flowers and ephemeral rust coloured autumn leaves that cling to last years branches as pieces of natures sculpture echo the textures and layers of her painting practice. It’s a studio that feels alive, a place where creativity is both nurtured and celebrated.
Our meeting builds on the success of Life Lines, Jane’s solo show last year, which was also Aleph Contemporary’s inaugural exhibition in Stroud. That collection explored the power of scribed lines in wet paint, a deceptively simple gesture that carried significant resonance. Jane described how these lines relate to life itself—imperfect, filled with highs and lows, yet profoundly human. This act of scribing lines also connects her work to the earliest forms of man-made mark-making, imbuing the series with depth and pre-historical connection.
Now, Jane is preparing for her next show, Sleepwalking, which runs from 28th March to 26th April 2025 at Aleph Contemporary, Station Road in Stroud. As we sit surrounded by her new works, palettes, and sketches, we delve into the creative process behind this forthcoming exhibition.
Jane reflects on the difficulty of beginning new work while staying connected to her past creations. “It’s hard at the beginning,” she admits. “You feel like you’re trying to connect with something new while staying true to yourself. The first piece feels like an alien in the room, but eventually, it starts to make sense.” Her current explorations focus on grids and the square format, paired with a palette dominated by hand blended neutral tones. The grid, she explains, has become something of a “safety net,” providing a structure from which her ideas can grow.
We discuss her testing process—how she uses small sheets to experiment with colours and forms. These messy, vibrant tests are works of art in their own right. “I love these fringes of colour,” she says, gesturing to one sheet. “They’re playful, unexpected.” Her joy in experimenting with colour and texture is evident, and it’s clear that this process is as important as the final pieces.
As we talk, Jane reveals how the title Sleepwalking reflects her feelings about the current state of the world—a sense of disconnection and helplessness—but also her resolve to continue creating. “I feel like I’m sleepwalking,” she says. “There’s so much going on that’s worse than I can ever imagine, and I can’t ignore it. But my work isn’t about that directly—it’s about owning the fact that I’m fortunate to be painting when so much else feels dire.”
The conversation turns to the role of art in times of turmoil. Jane shares her admiration for both Mark Rothko and Cy Twombly, two artists whose works embody raw emotion and profound depth. She reflects on how Rothko’s abstract masterpieces arose from his spiritual questioning and deep unease with the world around him. “Rothko once said, ‘How can we paint figuratively when all this is going on?’” she recounts. “I feel that sentiment deeply. I’m not Rothko, but I understand the need to create something that captures the intensity of living through difficult times without trying to represent it literally.”
Similarly, Jane draws inspiration from Twombly’s raw, instinctive gestures. “Twombly’s work speaks to me on such an instinctive level,” she says. “It’s raw, it’s layered, it’s messy—but it makes me feel something that I can’t quite put into words. That’s the power of abstraction.”
We move on to practicalities—discussing the exhibition layout, her shift from square to portrait formats, and the smaller works she has been experimenting with. These small studies, full of layered colours and bold contrasts, offer a more accessible entry point for collectors. “These make me happy,” Jane says, holding up a vibrant piece. “Sometimes it’s just about finding joy in the process.”
Her studio reflects this joy. The antique furniture and dried botanicals juxtapose beautifully against her contemporary, abstract works. It’s a tactile space, filled with contrasts that mirror her paintings—layers of colour, texture, and meaning built up over time.
By the time our conversation draws to a close, the frost outside has thickened, and the day feels even colder. But inside Jane’s studio, there’s a distinct warmth—not just from the space itself but from her dedication to her craft and her ability to articulate the often intangible connection between art and the world.
As I leave, I’m struck by the timelessness of her process. Even in the depths of winter, creativity flourishes here—a testament to the enduring power of art to transform, connect, and inspire.
Sleepwalking runs from 28th March to 26th April 2025 at Aleph Contemporary, Station Road, Stroud.
