Jake Bond

Jake Bond (b. 2000) is a London-based artist whose work explores themes of temporality, becoming and mortality. His paintings depict enigmatic creatures and objects that inhabit liminal spaces—worlds that feel suspended between the real and the imagined. These figures appear to be in a constant state of transformation, alluding to the shifting nature of identity and perception that we all experience. For Bond, painting is a way to situate himself within the broader cycles of life, using the medium to explore his feelings towards the nature of Existence.

A central part of Bond’s practice is the phenomenon of pareidolia—the tendency to perceive recognisable forms in ambiguous stimuli. Through his process, he embraces chance and suggestion to guide the emergence of figures and find something identifiable. This approach creates space for the uncanny to surface, where beings are neither fully human nor entirely other. This tension between familiarity and estrangement becomes a site of reflection where the work invites viewers into a space of introspection, allowing the boundaries between inner and outer worlds to blur.

“My work explores a reflection of the self and becoming, where identity, perception and time collapse into painted forms suspended between transformation and decay.”

6 questions with Jake Bond

We ask our emerging artists 6 questions to uncover what drives their work, practice, and creativity.

What themes or questions do you find recurring in your work?

Some recurring themes that appear in my work are temporality, becoming and impermanence. The figures I paint aim to embody ever changing and constantly evolving notions where they question time, identity and recognition. I often question what I perceive in my work, both visually and conceptually, and never want the idea behind them to be a permanently fixed one.

Can you describe a pivotal moment in your journey as an artist?

Studying my MA at the Royal College of Art was a pivotal moment for me. It gave me a chance to unravel and rebuild my practice - both materially and conceptually. I began to let go of narrative and instead leaned into ambiguity, slowness, and the idea of form as something in flux. That shift fundamentally changed how I approach painting. Making art became less about depiction and more about presence, duration, and becoming.

What materials or processes are most important in your practice - and why?

Drawing and oil paint are vital for my practice. Drawing acts as lines that I can manipulate and abstract to create the ambiguous forms in my work. I aim to turn simple lines into complex paths which makes the viewers eye move around the work. Oil paint is crucial for me as it allows for a slow buildup, revision, and layering, which mirrors the way my forms evolve over time.

How do you want people to feel when they experience your work?

One of the main reasons I paint is to reflect and further understand my perception of life. When I finish a painting I look at it for a long time and allow my thoughts about it to develop. This is how I want my audience to feel as well. I do not want to push any agenda or certainty but allow my works to become a point of self-reflexivity. I want the viewer to contemplate what they see and how it might relate to their own perception.

What does a typical day in your studio look like?

Any day in my studio has to involve music and cookies! My paintings take a long time and lots of focus so I like to have something else on the go on the side as a sort of relief - usually sketching or priming/stretching a canvas for the next piece I’m planning.

What dreams or hopes do you have for your artistic journey?

Artists are all hoping to be able to create for as long as possible in their lives and I am no different. I hope to keep deepening my work rather than trying to resolve it and would love to share it with larger audiences with reflective engagement.

Jake Bond COLLECTION

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Echoes from the Mountains’ Veins

Formulation of an Empty Space