“Nocturne,” the latest solo exhibition by Jake Wood-Evans, opens at Unit in London on January 22 and runs until March 2, 2025. This captivating collection invites viewers into a liminal realm where light and shadow converge, dissolving the boundaries between representation and abstraction into richly layered atmospheres.
At the heart of “Nocturne” lies the enigmatic allure of night. Inspired by James McNeill Whistler’s Nocturne in Black and Gold and J.M.W. Turner’s masterful studies of light and movement, Wood-Evans creates paintings tethered to history yet unbound by time. His distinctive process—layering vibrant yellow undercoats with veils of shadow and color—imbues each piece with a luminous, ethereal quality, inviting viewers to linger in shifting atmospheres and uncover hidden stories.
Wood-Evans’ practice not only transcends time but also breathes life into the past, creating a dynamic dialogue with the Old Masters. Figures influenced by Rubens, Poussin, and Van Dyck emerge as spectral apparitions, evoking reverence while reimagining their presence in contemporary art. With Nocturne, the artist deepens his exploration of light’s fleeting beauty and its power to transform perception, evoke emotion, and ignite imagination.
In this exclusive interview with Whitewall, Wood-Evans reflects on the inspirations and processes behind Nocturne. From Whistler’s influence to his exploration of light’s ephemeral qualities, he offers rare insights into his practice, firmly establishing himself as one of contemporary painting’s most compelling voices.

WHITEWALL: “Nocturne” explores the interplay of light and darkness, with a focus on atmosphere rather than representation. What inspired you to focus on the theme of the nocturnal, and how does it connect to your broader body of work?
JAKE WOOD-EVANS: I think a lot of my past paintings carried a strong emotional atmosphere. I’ve often referenced portrait painters in my work, and I was always interested in finding ways to shift or change that atmosphere. When the idea of the nocturne came up, I started imagining the paintings I admired as if they were set at night. I loved how that transformed the mood into something more ambiguous—where you’re not entirely sure what’s happening and elements fade into the darkness. There’s a kind of uncertainty in that, but also a sense of joy and even revelry, especially in the pieces that explore movement. I really enjoyed this shift—it felt like an exciting and natural direction to explore.
I was also drawn to the idea of old paintings fading over time, giving them a slightly ephemeral, fleeting quality. That concept resonates with me because it mirrors how everything in life feels transient. Nighttime, particularly with fireworks, became a powerful visual symbol for that ephemerality. Whistler’s work captured something similar, and when I saw it, it just clicked—it felt like such a beautiful and compelling idea to paint. I realized I could try to capture that fleeting beauty in my own work, even though it could never fully materialize because it’s already gone. That impermanence makes it such a poignant and meaningful symbol to explore.
Jake Wood-Evans Creates a Distinctive Mood in Each Painting


WW: You begin your paintings with a bright yellow undercoat, which gives them a distinctive luminosity. Can you explain how this process influences the mood and overall impact of your work?
JW-E: It’s been an interesting process. I wanted the paintings to feel luminous while still being dark. There’s a practical method to it, but I’ve also almost reversed the usual way of painting. Typically, you’d start with shadows and build up to highlights using white paint. In my approach, I use transparent layers of colour to almost extinguish the light beneath. This method shapes the way the painting feels and operates—it all comes from working in this way.
“I wanted the paintings to feel luminous while still being dark,”
Jake Wood-Evans
In my process, the framework is established early on. This is one reason I enjoy referencing the Old Masters; their painting structures provide a strong foundation. That structure can feel quite rigid if you want it to, but within it, there’s freedom to interact, play, and explore emotionally. It allows things to happen naturally and unexpectedly.
When I first started painting, I spent years learning the craft—trying to paint like the Old Masters and approaching everything very traditionally. But as my images became more refined, they began to feel like narratives, and I wanted to move away from that. Instead, I wanted to express emotion and feeling without relying on a direct story.
My goal was to evoke a response in the viewer through colors, tones, light, and atmosphere—these essential elements—rather than telling a specific story.
I hope this approach comes through in the work. I like the idea of the stories being unfinished, leaving enough space for the viewer to imagine what could be. I think this taps into the subconscious in a unique way. When I’m painting, I don’t want to know how the story ends or exactly how the piece will turn out. I want to discover where it takes me and let it evolve naturally. That’s one of the joys of being an artist—being in that moment of true creativity, where you’re learning, discovering, and creating all at once. That’s the best part.
WW: Whistler’s Nocturne in Black and Gold has clearly influenced this exhibition. How did engaging with Whistler’s legacy shape your approach to Nocturne, and what aspects of his work resonate most with your exploration of light and darkness?
JW-E: Whistler is an incredible painter. His portraits are so beautiful—they have such weight and an intense emotional atmosphere. I think you find paintings that inspire you at the moment you need them most. Sometimes you discover new artists, or you revisit someone whose work didn’t resonate with you as much years ago, and then it clicks. It’s like you “meet” them at the right time when their work connects with where you are creatively. For me, when I started thinking about nocturnal paintings, Whistler’s Nocturne immediately came to mind.
Engaging with Whistler’s work helped me explore my own ideas. History, in a way, is like a tutor—you’re always learning from the artists who explored these ideas long before you. What really resonates with me about Whistler’s Nocturne is its subtlety and quietness—it’s so beautiful and so unlike anything modern. It feels dreamlike. Those moments in a painting almost seem accidental, and when something similar happens in my own work, it feels unplanned, like a happy accident. Obviously, Whistler knew exactly what he was doing, but I think some of the magical elements in his work emerged as he painted and reflected on what he’d created. I feel the same way in my process—there are moments when you step back and think, “That’s it. Let’s hold onto that.” I really love that painting—it’s just gorgeous.
WW: Your work often combines elements of representation and abstraction, leaving room for interpretation. How do you decide how much to reveal or conceal in a painting?
JW-E: This is something that’s usually decided during the process of making the work. You don’t know exactly what will happen when you start. With Whistler’s work, for example, you see a framework, and within that, you make decisions as you paint. Sometimes you feel, “Maybe I’ll take that away,” or, “Let’s change direction here.” It’s about discovering different moments and letting them come together naturally.
It’s not really a plan—it’s something I allow to happen organically. If you try to control the process too much, you stifle it. At the same time, if you give it too much freedom, it can become chaotic. So, it’s always this back-and-forth balance, allowing just enough structure while still leaving room for spontaneity.
Finding Inspiration in Turner and Poussin


WW: Historical influences like Turner’s light studies and Poussin’s compositions often feature in your work. How have these inspirations shaped the themes and techniques in “Nocturne”?
JW-E: There was a point when I was looking at mythology a lot and thinking about Poussin’s paintings. With Turner, I feel like he’s been an artist I’ve engaged with for many years. People often think of him primarily as a master of light—and he absolutely is—but what really drew me in was the sense of movement in his work and the excitement, almost a sense of revelry, that comes through in his paintings.
I started imagining Turner’s work at night, layering in pagan and mystical elements—things happening in the darkness. Suddenly, something as simple as dancing can look completely different. I love how that uncertainty shifts the viewer’s interpretation of the painting. Maybe it’s joy, maybe it’s dancing, but I think emotions like that always need a bit of an edge. That ambiguity—where you’re not quite sure what’s happening—is really compelling to me. It’s not just about dancing and fun; there’s something more complex going on beneath the surface.
“That ambiguity—where you’re not quite sure what’s happening—is really compelling to me,”
Jake Wood-Evans

WW: The paintings in this series feel mysterious, with subtle details suggesting hidden stories. What feelings or thoughts do you hope to evoke in viewers as they explore these works?
JW-E: It’s important to me that the paintings remain open enough for viewers to bring their own emotions or feelings to them, no matter the day or moment. I want people to interpret different, even contrasting emotions. For instance, something that appears quite dark might evoke uncertainty but, at the same time, a sense of joy. I’m not trying to state anything definitive—the paintings are as they are after my experience with them. They’re open, more of an invitation than a statement.
When I look back at past paintings, it becomes clearer what I am trying to achieve—working with light and atmosphere to create a sense of emotion. This aligns beautifully with the theme of Nocturne, where light can suddenly transform everything. At twilight, for example, you can see incredibly vivid colors. It’s not simply dark; there’s an entire spectrum of colors and a unique atmosphere. I’m exploring that, aiming to make the paintings feel dreamlike. Some have described my works as dreamlike or ghostlike in the past, and I don’t mind that description—it’s fine. But with this new body of work, it feels like I’ve entered a completely different world, one filled with uncertainties. It feels as though I’ve found the right note—something has clicked. The subject and my process have come together to create something I find exciting and promising for the future.
Nature, of course, offers an abundance of colors and light. When the sun sets, it illuminates plants and gardens—you can see the silhouettes. It feels like I haven’t thought about this in quite the same way before. This time of exploring the Nocturne theme feels very much like something of the present moment.