“At the first Joash Woodrow exhibition in Harrogate in May 2002, I recall the sensation of magical discovery that here was an artist of exceptional talent.

…… the tremendous scope of his work was at once clear, and the recently-published book on the artist has helped clarify for me the many facets, and the essential nature, of his gift.

……picket-fenced allotments and industrial buildings – which seem to shimmer and vibrate with a rare and poignant poetry; painted and collaged art book pages which display a delightfully original, most cultivated wit; a few assemblages of found objects whose bare simplicity haunts and enchants.

One thing is clear: Woodrow’s unique voice – delicate, quizzical, elusive, full of oblique humour yet somehow impressively self-assured – runs through all that he painted, made and drew.”

Phillip Vann 

Author of numerous catalogue essays on modern British and European painters and sculptors. Regular contributor to ‘RA’, ‘The Economist’, and co-author of the Joash Woodrow ‘Landscapes’ book.

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In the same year, one of his large scale works was accepted by the Osaka Triennale, Japan,- winning a major purchase prize in the exhibition. His success continued to grow, with his work becoming exhibited widely in the US and in Europe

In 1996 Jolly received an invitation to participate in the highly prestigious Premio Marco exhibition at the Museo de Arte Contemporaneo de Monterrey, Mexico. The following year he began to work on a highly ambitious triptych depicting a car crash, which took two years to complete. The finished 16 foot long painting Fatal Collision was finally exhibited at the Osaka Triennale in 2001, where it won a major purchase prize. A year after completing this painting he decided to take a break from from full-time painting allowing him to embark on other projects. One project in particular was the result of suggestion from a friend that he should start a humorous gentlemen’s magazine called The Chap. The magazine proved far more successful than he could have anticipated, resulting in a commission to write 4 spin-off books, as well as TV animation work. In 2005 he decided to return to painting and for the past four years he has continued to work from his studio in London.