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Jen Orpin AMAFA

Manchester, UK

Jen Orpin graduated from Manchester Metropolitan University in 1996 with a degree in Fine Art. She lives in Manchester and joined Rogue Artists’ Studios in 2000. 


Her work is held in public and private collections both nationally and internationally and has been accepted into several Open Art exhibitions. Amongst these are the long list for the Jackson’s Open Painting Prize, The Warrington Contemporary Arts Festival, New Light Art Prize, The ING discerning Eye Exhibition, The Wells Art Contemporary, Bankley Open, Contemporary Six Gallery Open call and the first and second HOME Exhibitions where she was shortlisted on both occasions. She’s also exhibited in galleries in Bolton, Norfolk, Doncaster, Sheffield, Walsall, Liverpool and London. 


In 2018 she appeared on Sky Arts Landscape Artist of the Year where the judges chose her in their top three for the heat. She regularly shows with Saul Hay Fine Art and her paintings have appeared in two publications in conjunction with the Modernist Society, a project called Landscapes of Post War Infrastructure with a ten-week solo show at the Manchester Modernist Society and their 10 year anniversary publication. 


In May 2021 her motorway paintings were featured in the Guardian online and the Grid section of the Observer's New Review arts and culture magazine. 

Jen has recently become an associate member of the Manchester Academy of Fine Arts. (MAFA) 


Jen O mugshot.jpg


My current practice focuses on one of the fundamental elements of human relationships, connecting with each other and connecting with the people who are closest in our lives. This connection can manifest itself emotionally, spiritually and physically. The latter requires us to come together, meet, see and touch each other.

This cannot happen without one crucial act, the journey that takes us to them. This, in the most part is achieved by various means and modes of transport. The one I focus on and have been investigating through my  painting practice is the journey by car and the  relationship we have with the motorway and its landmarks. These visual representations of everyday topographies and the framed view from the car make up and form the basis of memories and nostalgia. The importance of these external landscapes is often mirrored by the internal dialogue of the driver and passenger with the confinements of the car at times offering an intimate confessional space.

The mundanity of these every day actions often belies the truth of deep routed emotions that come with well-travelled routes to the people and places that mean the most to us. In these paintings I aim to portray this feeling. Emotionalism is a key element in the success of each one and as a viewer you are forced to look down the road as its sole traveler and undertake each journey as your own. Each bridge or landmark acts as the sitter in the landscape’s portrait, confronting you head on, holding your gaze as your mind travels under and beyond its concrete confinements.

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