Jim Naughten is an artist exploring historical and natural history subject matter using photography, stereoscopy and painting. He was awarded a painting scholarship to Lancing College and later studied photography at the Arts Institute of Bournemouth.

Jim was born in 1969 and he lives and works in London, United Kingdom.

Jim Naughten is an artist working with photography, painting and digital processes, exploring historical,
environmental and biodiversity themes frequently working with museum collections.
He was awarded a painting scholarship to Lancing College and later studied photography at the Arts
Institute of Bournemouth (both in the UK).
Naughten’s work has been widely featured in exhibitions across Europe and the US and includes solo shows at the Imperial War Museum, Wellcome Collection and Horniman Museum in London and group shows at the Royal Academy of Art and National Portrait Galleries.
His first series, Re-enactors, was published as a monograph in 2009 Hotshoe Books, his second, ‘Conflict and Costume’ Merrell in March 2013, ‘Animal Kingdom’ Prestel in April 2016, ‘Human Anatomy, Prestel in 2017, ’Mountains of Kong’ Hoop Editions 2019 and ‘Eremozoic’ in 2020 Hatje Cantz.
Collections holding his work include The Imperial War Museum, Wellcome Collection, Horniman Museum UK The Museum of Art, Houston, Museum of Honolulu and private collections in the US, UK and Europe.

Biologist E O Wilson suggested that biophilia describes the connections that human beings subconsciously seek with the rest of life.
Rooted in our evolutionary history, biophilia acknowledges our deep seated connection with the natural world and an innate affinity for other living organisms.
For almost the entirety of human existence, our ancestors maintained a profound, intimate connection with the natural world, a perspective that transcends mere survival.
In their worldview, animals were considered people, equals in the intricate tapestry of life on earth: a sacred, interconnected realm.
In a world now dominated by humans, agriculture, urbanisation and technology the lost understanding of nature as a living entity has given way to exploitation and environmental degradation.
Biophilia transcends the boundaries of reality to paint fictional images of wild-life, illuminating the expanding gulf between humanity and the natural world.
Through the fusion of human creativity and machine learning, the artwork weaves hallucinations in to the fabric of surreal, fictional animal portraits.
They act as visual metaphors which question our fractured relationship with the wild world.
Through biophilia, we are attracted to the animal in art and recognise and continue to feel affinity through our shared history, albeit through an increasingly distance and distorted, man-made lens.