Brianna Parker won Péjú Oshin’s Choice Award in Jackson’s Art Prize this year with her work The Art of Frying Plantain. In this interview, she discusses physicalising her thoughts, the three stages of painting, and transforming a simple domestic task into a performance.
Above image: Brianna in her shed studio space
The Art of Frying Plantain, 2024
Brianna Parker
Oil on canvas, 121.9 x 91.4 cm | 47.9 x 35.9 in
Josephine: Could you tell us about your artistic background?
Brianna: I’ve always had a natural affinity for art. From early on, I discovered that creating was not only a way to express myself but also a way to make sense of the world around me. My sketchbooks became a space where I explored my reality, emotions, and imagination. Through exercising this love of creating I was able to refine my technical skills and visual communication, by experimenting with diverse mediums and studying the practices of other artists. My first step into the art world came through attending art school, which was an interesting yet eye-opening and formative experience. It not only allowed me to strengthen my artistic professionalism, but also gave me deeper insight into society and culture beyond the curriculum.
Workspace
Josephine: What does a typical working day in the studio look like for you? Do you have any important routines or rituals?
Brianna: Honestly, it really depends on the stage I’m at with a painting. The preparation stage – stretching canvas, priming and painting the under-layers is the most boring part, as you’re literally waiting for paint to dry, so I do a lot of admin work at this period. For me, a painting process unfolds in three sections. The first third is the happiest part, filled with excitement and momentum as ideas begin to take shape on the canvas. The middle stage often brings challenges, such as making sense of perspective, how colours interact with each other, and the play of light and shadow. Yet problem-solving in this phase is very rewarding, as it pushes the work forward in unexpected ways. The final 10% is always the hardest as it honestly is a dread, as you are constantly repeating the question of when the work is actually completed (coffee consumption is high at this stage). Then the cycle repeats itself, as having the ability to physicalise and communicate just a thought is a magical experience and highly addictive.
And Still my Spirit Blooms, 2025
Brianna Parker
Oil on canvas, 50 x 20 cm | 19.6 x 7.8 in
Josephine: Which materials or tools could you not live without?
Brianna: I use Michael Harding oil paints on a high-quality, fine canvas. I tend to use inexpensive brushes, as I often paint until exhaustion and don’t have the capacity to properly clean oil paint from them.
Skin colours
Josephine: Do you work from a reference? What is your process?
Brianna: When an idea comes to me, I think of the people I know who would best suit the concept. I then take my own photo references and with the help of Photoshop, superimpose different elements to bring the idea together. For example, I got the idea to paint The Art of Frying Plantain while getting burnt whilst cooking. I contacted a mutual friend, who happens to be a professional ballet dancer, to organise taking photo references. I then went to IKEA to find a kitchen background to place the figure onto. While painting, I altered the colours as needed to make sense of the composition, while capturing the play of shadow and light.
Still Life With Bun and Cheese, 2025
Brianna Parker
Oil on wood, 30 x 40 cm | 11.8 x 15.7 in
Josephine: Do you regularly draw or keep a sketchbook? If so, how does this inform your work?
Brianna: I’d love to say that I sketch ideas everyday, but I don’t, just because I’m a perfectionist and often end up spending too much time on the sketches themselves. That said, I do sketch when unsure in the process of developing ideas, as it helps me make sense of what I want to create.
Every colour Brianna has ever painted
Josephine: Have you ever had a period of stagnation in creativity? If so, what helped you overcome it?
Brianna: I often overcome creative blocks by simply living life, as I am inspired by the everyday and mundane experiences.
The Tiger Who Came to Tea, 2025
Brianna Parker
Oil on canvas, 50 x 60 cm | 19.6 x 23.6 in
Josephine: Are there any specific artists or mentors who have inspired you?
Brianna: Lynette Yiadom-Boakye for her ability to create subjects from her imagination. Barbara Walker for her exploration of documentation and erasure. Jordan Casteel for the way she connects with her community and how it fuels the work she produces. Kehinde Wiley for the way he recontextualises classical European portraits. Barkley L Hendricks for his contribution to Black portraiture and representation, and Habib Hajallie who was my mentor and provided invaluable guidance.
Brianna’s shed studio
Josephine: What were you thinking about or exploring at the time you painted The Art of Frying Plantain? What inspired it, and how did it come to be?
Brianna: Often in my practice, I capture mundane moments that hold deeper significance. This scene, in particular, embodies elegance and rhythm, as the ritual of cooking becomes a careful dance between patience and vigilance. The painting transforms a simple domestic task into a kind of performance. I thought carefully about movement, balance, and poise, which led me to collaborate with a mutual friend, a professional ballet dancer to be my muse.
Brianna painting Bending Over Backwards
Josephine: Why did this piece feel like the right one to submit?
Brianna: This piece felt like the right one to submit because it captures a universal experience of cooking and transforms it into a performance, highlighting the elegance and rhythm hidden in everyday rituals. Also, provides plantain lover representation.
Work in progress of Bending Over Backwards, 2025
Brianna Parker
Oil on canvas, 90 x 90 cm | 35.4 x 35.4 in
Josephine: How did it feel to move through the stages of the competition and win Péjú Oshin’s Choice Award?
Brianna: I felt extremely honoured and grateful to be recognised. This was an affirming experience as it truly is the best feeling to just feel seen.
Workspace
Josephine: What is your relationship with symbolism in your work?
Brianna: I like to explore how objects can evoke ideas, emotions, or cultural references. To me, symbolism acts as a visual language, allowing viewers to connect with and engage in the work based on their own personal experiences.
Materials
Josephine: Are there any new materials or ideas you’re excited to explore using your prize?
Brianna: I’m currently exploring how the shape of the canvas can contribute to the overall meaning of a work, and the prize has given me the opportunity to experiment more freely. It’s also allowed me to stock up on my favourite materials, which is incredibly exciting for my practice.
Josephine: What’s coming up next for you?
Brianna: I’m excited to share that I have two exhibitions coming up in September in London, showcasing brand new work. If you’d like to stay updated and be the first to hear about them, you’re very welcome to join my mailing list on my website.
Further Reading
Meet Eleanor Johnson, Winner of Jackson’s Art Prize 2025
Jackson’s Art Prize 2025 Exhibition at Affordable Art Fair
How We Collaborate With Artists
Expert Advice on Making Your Way as an Artist
Shop Oil Painting on jacksonsart.com
The post Brianna Parker: Rhythm in Rituals appeared first on Jackson's Art Blog.
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