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Jim Brook

@jimlbrook

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Dewsbury, West Yorkshire.
Englands a swine

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A couple of beer mats for @marywallopers new album/single along with the original 60/70s Guinness beer mats.

Many thanks to @germanfeckin and @marywallopers for the opportunity to work on this!

Imperialism never wins by @jimlbrook

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10 days ago

IMG_7231, 13:49, 2026
Where we ate our tea, orange and unwanted photos kept in the top drawer, next to the bootleg tapes.
Oil on Canvas, 2026.

IMG_0560, 18:09, 2024.
Haddock n chips, Scollop, mushy peas, scraps, salt n vinegar and a dandelion and burdock please Marra.
Oil on Canvas, 2026.

The Heart is Full, with @jamie_holman_studio is now extended until the 4th at @village.gallery, Leeds.

Images by @jckbltn by @jimlbrook

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20 days ago

The heart is full, with @jamie_holman_studio runs for another couple of weeks at @village.gallery Leeds.

Images by @jckbltn by @jimlbrook

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a month ago

@jamie_holman_studio and I looking joyful

Thanks to everyone who came to the opening last night, the shows runs for a few weeks by @jimlbrook

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a month ago

A couple of snippets from -

Sunday best/River of industry, 2026.

Printed carpet, stereo, lamp, jigsaw and objects.

Along with accompanying poem under the same title

As part of The heart is full with @jamie_holman_studio, opening tomorrow 4th September at @village.gallery Leeds, 6-9pm

Images by @jckbltn by @jimlbrook

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a month ago

Join us in Leeds next Friday for the launch of our next exhibition The Heart Is Full.

The show brings together new bodies of work by Jim Brook and Jamie Holman in an exhibition that considers the emotional lives of images: how they gather meaning over time, how they move between people and technologies, and how they come to shape our understanding of memory, identity and belonging.

Although developed through distinct approaches, the works share an attentiveness to the ordinary: family photographs, domestic interiors, village landscapes, television broadcasts and dance floors become starting points for exploring what is preserved, forgotten and deemed worthy of attention. Both artists understand memory not as fixed or complete, but as a living process—fragmented, mediated and continually rewritten through looking, making and remembering. Images are translated and transformed across materials, technologies and makers, accumulating new meanings as they move through time. taken in Village by @jimlbrook

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2 months ago

IMG_0560, 18:09, 2024.
Haddock n chips, Scollop, mushy peas, scraps, salt n vinegar and a dandelion and burdock please Marra.

Oil on Canvas, 2026.
12x18” by @jimlbrook

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5 months ago

IMG_0014, 18:31, 2024.
The walls record the death, again, day after day. But he will rise again.

Oil on Canvas, 2026.
12x18”

This new series of paintings continues Brook’s investigation into image making, authorship, and cultural value. Originating from photographs taken on an iPhone between 2021 and 2026, the works document everyday life within the village and surrounding areas in which the artist was raised. Funerals, pubs, domestic interiors, landscapes, still life, and fleeting moments of daily experience form a personal archive shaped by familiarity, repetition, and lived experience.

As Brook prepares to leave the place that has defined much of his identity, these images have shifted from casual documentation into reflections on attachment, distance, memory, and belonging. Revisiting and transforming them becomes inseparable from a changing relationship to place and personal history.
Produced in collaboration with a third party fabricator under the artist’s instruction, the photographs are translated into oil paintings, introducing distance between image and maker while complicating traditional ideas of authenticity, labour, and authorship. Through this process, the smartphone photograph, often understood as immediate, disposable, and culturally “low” is repositioned within the historical framework of oil painting, a medium long associated with permanence, status, and wealth.

Brook draws parallels between contemporary image culture and painting’s historical role as a tool for preservation, aspiration, and social display. Where wealthy patrons once commissioned paintings of the animals they hunted, the fruit they consumed, or the people they loved, Brook elevates scenes from working class daily life into the same visual and material register. Through the tension between the digital and the painterly, the vernacular and the canonical, the work examines how value, memory, and lived experience are constructed, preserved, and reassigned within contemporary culture. by @jimlbrook

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5 months ago

12 images showing my gran at different points over the last few months; in the slow, stubborn process of a 2000 piece jigsaw that’s never meant to be finished. What starts as something ordinary becomes something else, a quiet kind of persistence, a rhythm built out of time, memory, and repetition.

The image itself comes from a place I kept returning to while we were both dealing with grief. Going back to the jigsaw again and again feels as simple as those summer evenings I spent walking to the mill, not searching for answers, just returning, keeping things moving in the smallest way. I’m not sure my gran really understands why she keeps at it, spending hours finding pieces that look almost identical, only to realise they belong somewhere else.

This forms part of a larger installation, where it will sit alongside other objects and works. by @jimlbrook

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5 months ago

We Want to Live, 2025 (FBU strike 1977, Dewsbury Picket Duty)
Glass, Paint, metal, Wood, LED
47.5 x 60 cm

Fabricated by @studioorme by @jimlbrook

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a year ago

Self portraits
A photograph my gran took of my grandad with a box of kittens outside there first home in earlsheaton dewsbury. It’s coming up to 10 years since his passing and it feels like last week.
Milk bottle from my solo show rich tea at @village.gallery
A couple favourites of my great grandads working men’s club membership cards
A small framed image I took at top of my street a few years ago
Gran cooking
A page from the book “Yorkshires river of industry”, Asda now stands in its place
Some words explaining an installation work (unfinished)
@joetorr87 breaking

Been working on a new solo show over the last year or so and hopefully this year it will be seen by someone other than me by @jimlbrook

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9 months ago

Two Lovers, 2023 (Jimmy Ruffin, Live at Batley Variety Club 1971)
Glass, Paint, metal, Wood, LED
47.5 x 60cm

Stained glass made from a photo of my Gran and Grandad on their first date seeing Jimmy Ruffin at Batley Variety Club in 1971. They didn’t receive the actual photo for a few months due to postal strikes and by that time they were on their way to marriage (good job or the photo would have been a sour taste).

James Corrigan who comes from a family of fairground and amusement owners (look at the names floating around scarborough) opened Batley Variety club in 1967 in the heart of the Heavy Woollen District, known as the Vegas of the north, Batley Variety Club hosted some of the best performers of the 60s/70s in the middle of the industrial north. A club for the working class, for the mill workers, steelworkers and miners of Batley, Dewsbury and nearby places.

This work is Showing in New Now pt 2 opening tomorrow (friday 12th jan 2024, 6-9pm) at @guts_gallery
Thanks to @brynley.odu.davies for having me

Many thanks to @studioorme for the fabrication of this work!

courtesy of Jim Brook and Guts Gallery. Photography by Eva Herzog Studio. by @jimlbrook

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3 years ago